Prince Harry: Royal Rift ‘No Turning Back’ as Charles Split Grows

June 9, 2025, 3:36 pm

The British royal family's long-standing conflict has taken a more serious turn. According to sources close to the palace, Prince Harry and King Charles' relationship has irreparably worsened. Moreover, Prince William's strong support for his father and his refusal to make amends with his younger brother have caused one of the worst rifts the royal family has ever experienced. Additionally, trust issues, public revelations, and even disputes over the surnames of Harry’s children have added layers of complexity to an already strained bond.

‘There Is No Turning Back’: Royal Rift Hits Breaking Point

King Charles and Prince Harry’s relationship has deteriorated so badly that insiders believe reconciliation is impossible. Despite the monarch’s tenderness toward his son, palace confidants caution him against reopening communication, warning that it could damage Prince William’s future reign. Furthermore, royal expert Hilary Fordwich told Fox News, “There is no turning back.” William has completely shut the door on any attempts to mend the rift, and Charles refuses to go against his heir’s wishes. Meanwhile, the 5,400-mile physical distance deepens the emotional divide caused by Harry and Meghan Markle’s departure from official royal duties in 2020.

Trust Issues Fuel Prince Harry and King Charles’ Family Fallout

A core reason for the fallout stems from a breakdown of trust, which Harry’s candid interviews, especially the revealing BBC special, sparked. Sources say King Charles and Prince William no longer trust Harry and Meghan to handle confidential family matters. Recent tensions over passport delays for Archie and Lilibet have made that distrust worse. These delays led Harry to consider changing their surname to Spencer, Diana’s maiden name. Palace officials believe the move challenged royal protocols, and Harry's discussions with Earl Spencer only intensified tensions. The family currently uses the Sussex surname, and officials believe the delay in passport processing links back to their HRH titles—further fueling the dispute.

Camilla Stays Out as Prince Harry and King Charles’ Rift Grows

Camilla has reportedly chosen to avoid playing a role in the feud. King Charles, who continues to battle illness, must carefully juggle his health, his loyalty to family, and the monarchy’s future. While a resolution remains unlikely anytime soon, some royal analysts believe Harry may eventually need to take a more subdued public stance to restore peace.

The Golden Thread: Inside Jaisalmer’s Five Storied Wonder where merchant kings once walked

November 30, 2023, 9:58 am

A deep dive into Patwon ki Haveli, where centuries old artistry whispers tales of wealth, ambition, and architectural genius. Patwon ki Haveli is a segment dedicated to a wealthy trader’s vision and a father’s ambitious gift to his sons. Built between 1800 and 1860 by Guman Chand Patwa, this architectural marvel isn’t just one haveli but a complex of five interconnected mansions, each originally intended for one of his sons.

The Cloth Merchant’s Canvas

Guman Chand Patwa wasn’t just any merchant he dealt in brocade, gold embroidery, and opulent textiles that adorned royalty across continents. His trading empire stretched from Afghanistan to China, bringing immense wealth that he would eventually translate into this architectural masterpiece. The irony isn’t lost on visitors today a man who made his fortune in fabric chose to immortalize his legacy in stone.

Architecture That Defies Time

Rising five stories into the desert sky, Patwon ki Haveli challenges conventional architectural wisdom. Its narrow street location makes it impossible to capture the entire structure in one glance, creating an element of surprise as visitors discover new details with each step. The haveli’s construction demonstrates a sophisticated understanding of desert architecture its orientation and design ensuring comfortable temperatures year-round, long before the advent of modern cooling systems.

The Dance of Light and Shadow

The haveli’s most remarkable feature is perhaps its jharokhas ornate overhanging balconies that create a mesmerizing play of light and shadow throughout the day. These aren’t mere decorative elements; they’re architectural innovations that served multiple purposes. The intricate latticework allowed women of the household to observe street life while maintaining purdah, while also acting as natural air conditioners in the harsh desert climate.

Artistry in Every Corner

While time has dimmed some of its glory, the haveli’s remaining artistic elements tell stories of unparalleled craftsmanship. The surviving paintings and mirror work on the interior walls offer glimpses into a past where no expense was spared in pursuit of beauty. Each room tells its own story some through geometric patterns that seem to dance in candlelight, others through fading murals that still hint at their original vibrancy.

The Golden Age of Architecture

What makes Patwon ki Haveli unique is its fusion of various architectural styles. The structure incorporates elements from Rajput architecture, Islamic influences, and even traces of European design a physical manifestation of the cross-cultural trading networks that enriched Jaisalmer. The yellow sandstone exterior, carved with precision that modern tools would struggle to replicate, changes color throughout the day, from pale gold at dawn to deep honey at sunset.

A Symphony in Sandstone

The haveli’s construction itself is a marvel of engineering. Using the local yellow sandstone, craftsmen created interlocking blocks that have held steady for over two centuries without using cement. The stone’s properties its ability to expand in heat and contract in cold while maintaining structural integrity were perfectly understood by the builders, who used this knowledge to create a building that has withstood the test of time.

The Mirror Palace Within

One of the most spectacular features of the haveli complex is its mirror work chambers. Though some have lost their luster, the remaining sections demonstrate how strategic placement of mirrors once created infinite reflections, making rooms appear larger and more luminous. These chambers weren’t just about aesthetics they served as natural light amplifiers in an era before electricity.

The Merchant’s Quarters: Where Business Met Luxury

The ground floor of the haveli, once used for business transactions, reveals how commerce and luxury coexisted in 19th century Jaisalmer. Hidden storage spaces, clever accounting chambers, and secret vaults speak of a time when the silk route brought both prosperity and the need for security. The intricate carved archways leading to these areas were designed to impress visiting traders while maintaining the privacy of the residential quarters above.

Women’s Domains: The Hidden Spaces

The upper floors of the haveli contained the zenana areas reserved for women. These spaces feature some of the most elaborate architectural elements, including screened windows that allowed for privacy while ensuring ventilation. The surviving paintings in these sections often depict scenes from everyday life, providing rare insights into the domestic culture of wealthy merchant families.

The Art of Preservation

Today, Patwon ki Haveli faces the challenges of preservation in a rapidly modernizing world. While parts of the complex have been converted into a museum, others remain private property, creating unique challenges in maintenance and restoration. The delicate balance between preservation and accessibility continues to be a point of discussion among conservationists.

Stories in Every Stone

Each carved panel and painted wall in Patwon ki Haveli tells multiple stories of the artisans who created them, the families who lived among them, and the changing fortunes of Jaisalmer itself. Some motifs are purely decorative, while others carry deeper symbolic meanings, creating a visual language that speaks across centuries.

Living Heritage

Unlike many historical monuments that stand empty, parts of Patwon ki Haveli continue to pulse with life. The ongoing presence of residents in certain sections helps maintain the building’s original character while presenting unique challenges in conservation. This living heritage aspect adds an authentic dimension to the visitor experience, making it more than just another tourist destination.

The Future of the Past

Conservation efforts at Patwon ki Haveli represent a broader dialogue about heritage preservation in India. Modern techniques are being carefully employed to stabilize and restore different sections while maintaining historical authenticity. Digital documentation of the haveli’s architecture and artworks is underway, ensuring that this architectural treasure is preserved for future generations, at least in digital form.

Beyond Tourism

While Patwon ki Haveli is one of Jaisalmer’s prime tourist attractions, its significance extends far beyond tourism. It serves as a valuable resource for architects, historians, and artisans studying traditional building techniques and design principles. The haveli’s innovative solutions to climate control and space utilization continue to inspire contemporary sustainable architecture.

Legacy in Stone

As Jaisalmer evolves in the 21st century, Patwon ki Haveli stands as more than just a tourist attraction or a historical monument. It represents the culmination of artistic vision, architectural skill, and merchant wealth that characterized a golden age in Rajasthan’s history. Its partially faded glory serves as a poignant reminder of the need to preserve our architectural heritage while adapting to modern realities. The haveli’s story is far from over. Each generation brings new challenges and opportunities for preservation, new technologies for restoration, and new eyes to appreciate its ancient beauty. As the sun sets over Jaisalmer, casting long shadows through the haveli’s jharokhas, it continues to stand proud a golden thread connecting past to present, a testament to human creativity, and a reminder that true beauty, even when faded, never loses its power to inspire.

Whispers in Stone: The Truncated Tale of Jaisalmer’s Most Enigmatic Mansion

November 30, 2023, 9:58 am

A journey through time at Salim Singh ki Haveli, where architectural brilliance meets royal rivalry. The peacock palace that lost its crown, Salim Singh ki Haveli, built during the early 1700s, remains one of the most striking examples of Rajasthani architecture, despite or perhaps because of its famously abbreviated height.

The Man Behind the Mansion

Salim Singh, also known as Salim Seghai, wasn’t just another wealthy merchant of Jaisalmer. As the Prime Minister of the princely state during the 18th century, he wielded considerable influence, often using it to impose hefty taxes on the local population. His reputation for being a strict administrator earned him both respect and resentment among the citizens, much like the haveli he built admired for its beauty yet shadowed by controversial tales.

Architectural Marvel: Where East Meets Imagination

The haveli’s most distinctive feature is its roof, an architectural feat that seems to defy gravity. Supported by intricately carved brackets shaped like peacocks, the arched roof appears to hover over the structure like a dancer’s raised arms. The peacock motif wasn’t chosen merely for aesthetic purposes in Rajasthan, the peacock represents grace, nobility, and the spiritual balance between earth and heaven. The facade, crafted from the region’s characteristic yellow sandstone, showcases an extraordinary blend of Rajput and Islamic architectural elements. The building rises from a narrow base and expands into a broader upper section, creating a distinctive ship’s stern-like appearance that has earned it the local nickname “Jahaz Mahal” (Ship Palace).

A Tale of Two Extra Floors

Perhaps the most intriguing aspect of Salim Singh ki Haveli is what’s missing rather than what remains. Historical accounts speak of two additional wooden storeys that once crowned the structure, making it rival the height of the Maharaja’s palace. This architectural audacity would prove to be its undoing. According to local legend, when the haveli’s height matched that of the royal palace, it sparked a political crisis. The Maharaja, viewing this as an affront to his authority, ordered the immediate demolition of the top floors. This act of architectural amputation serves as a permanent reminder of the delicate power balance in historical Rajasthan, where even buildings could be seen as political statements.

Living History: The Descendants’ Tale

Unlike many historical structures that have been completely transformed into museums or hotels, Salim Singh ki Haveli maintains a unique status. A portion of the haveli continues to house descendants of the original residents, creating an unbroken chain of living history spanning three centuries. Mool Singh, a seventh-generation resident, shares, “Living here is like being a guardian of history. Every morning, when the sun strikes the jharokhas (overhanging enclosed balconies), we see the same play of light and shadow that our ancestors witnessed. It’s a responsibility as much as it is a privilege.”

Architectural Details That Tell Stories

The haveli’s 38 balconies tell their own tales through their diverse designs. Each balcony is unique, featuring different patterns and motifs that showcase the craftsmanship of 18th-century artisans. The jharokhas served multiple purposes they allowed women to observe street life while maintaining purdah, facilitated air circulation in the desert heat, and created stunning light patterns inside the rooms.

The Forgotten Artisans

While much attention is given to the haveli’s prominent residents and architectural features, less is known about the skilled craftsmen who spent years bringing this vision to life. These anonymous artists left their mark through intricate carvings, each telling stories of their own floral patterns that bloom eternally in stone, geometric designs that create optical illusions, and animal motifs that seem to come alive in certain lights.

Conservation Challenges in a Modern World

Today, Salim Singh ki Haveli faces the challenges of preservation in an increasingly modernized world. The delicate balance between maintaining historical authenticity and accommodating modern needs presents ongoing challenges for both the resident families and conservation authorities. Environmental factors pose additional threats. The desert climate, with its extreme temperature variations, continuously tests the durability of the ancient construction. Sandstorms, though less frequent now, gradually erode the intricate carvings that make the haveli unique.

Tourism, A Double Edged Sword

The haveli’s growing popularity as a tourist destination brings both opportunities and challenges. While tourism provides necessary funds for maintenance, the increased foot traffic impacts the structure’s integrity. The resident families have adapted to this reality, creating designated touring areas while maintaining private spaces—a delicate balance between preservation and accessibility.

Architectural Influence on Modern Design

Contemporary architects and designers frequently draw inspiration from Salim Singh ki Haveli’s innovative features. Its efficient cooling system, achieved through thoughtful placement of jharokhas and windows, provides valuable lessons in sustainable architecture for hot climates. The haveli’s expanding upper floors, which maximize space while maintaining a small ground footprint, demonstrate solutions relevant to modern urban planning challenges.

The Haveli After Sunset

As day turns to night, Salim Singh ki Haveli transforms. Carefully placed lighting highlights the architectural details, creating an ethereal effect that makes the peacock brackets appear to dance in the shadows. During full moon nights, the yellow sandstone takes on a silvery sheen, and local guides say this is when the ghosts of the demolished floors make their presence felt—a romantic notion that adds to the haveli’s mystique.

Future Prospects, Balancing Preservation and Progress

The future of Salim Singh ki Haveli lies in finding innovative ways to preserve its historical significance while adapting to contemporary needs. Recent initiatives include digital documentation of the architecture, creating a detailed record for future generations and restoration efforts. Conservation experts are exploring new technologies to protect the ancient sandstone while maintaining its authentic appearance. There’s also growing interest in using virtual reality to show visitors how the haveli might have looked with its additional floors intact, bringing historical accounts to life without physical reconstruction.

Legacy of the Truncated Tower

The story of Salim Singh ki Haveli its rise, literal fall, and enduring presence reflects the broader narrative of Rajasthan’s architectural heritage. It stands as a testament to human creativity, political intrigue, and the enduring power of architecture to tell stories across centuries. What makes this haveli particularly special is not just its architectural beauty or historical significance, but its role as a living bridge between past and present. As modern Jaisalmer grows around it, Salim Singh ki Haveli remains a reminder that some stories are best told not through words, but through stone, wood, and the endless dance of light and shadow across carved peacock brackets that still seem to take flight in the desert wind. In an age where heritage often gets reduced to tourist photographs and guidebook entries, Salim Singh ki Haveli continues to be a home, a historical monument, and a symbol of architectural ambition that reached for the sky even if it was ultimately forced to bow to royal authority. Its truncated top floor remains a powerful reminder that sometimes the most interesting stories lie not in what we see, but in what is missing.

Nita Ambani’s Swadesh Pavilion Adds Indian Luxury To Paris Olympics Celebrations

November 30, 2023, 9:58 am

Swadesh, an initiative by Nita Ambani’s Reliance Foundation, is bringing a touch of Indian luxury to Paris. The India House at the Paris Olympics, which opened to visitors today, features a Swadesh pavilion that highlights India’s rich history of textiles and handicrafts. India House at Paris Olympics India House is the nation's inaugural country house at the Paris 2024 Olympic Games. It was conceptualized by the Reliance Foundation in partnership with the Indian Olympic Association (IOA). Besides appreciating Indian handicrafts at the Swadesh pavilion, Olympic fans can also sample chaat and enjoy desi performances at India House. Nita Ambani's Vision Reliance Foundation chairperson Nita Ambani, who was unanimously re-elected as a member of the International Olympic Committee from India this year, called Swadesh an initiative to promote India’s arts and crafts and an ode to the country’s artisans. Showcasing Indian Handicrafts

View this post on Instagram

A post shared by India House (@indianolympichouse)

The official Instagram account of India House shared inside glimpses of the Swadesh handicrafts pavilion. The pavilion showcases painted plates, intricately woven rugs, tapestries, metalwork figurines, Jaipuri block-printed bags, fabrics, and more. Instagram Highlights “Our story hits a new milestone with the Swadesh Pavilion at @indianolympichouse. As the nation rallies behind its athletes for the Paris Olympics, we celebrate the spirit of our very own artisans,” Swadesh posted on Instagram. “Join us in honoring both, as we showcase the finest of Indian craftsmanship on a global stage,” the caption read. Swadesh's Journey Nita Ambani had launched the first standalone Swadesh handicrafts store in Hyderabad last year. “Swadesh is an ode to Indian art and artisans. It is wonderful to start our journey of 'Swadesh' from Hyderabad. India has a rich history of culture and tradition. So, Swadesh is a humble tribute to the artisans of India,” she said at the launch event in November 2023. Opening Ceremony Attendance The Reliance Foundation chairperson attended the Paris Olympics opening ceremony on Friday along with her husband Mukesh Ambani.

Soaring Above the Skies: The Unparalleled Journey with Etihad Airways

November 30, 2023, 9:58 am

In the ever-evolving world of aviation, where competition is fierce, Etihad Airways has consistently distinguished itself as a leader in delivering exceptional travel experiences. As the national airline of the United Arab Emirates, Etihad has redefined air travel with its commitment to excellence, innovation, and sustainability. Every journey with Etihad is a blend of luxury, comfort, and cutting-edge technology, making it a preferred choice for travelers worldwide. d Expanding Global Horizons Etihad Airways has earned its reputation as a global connector, bridging continents and cultures. With a network that spans over 90 destinations across six continents, the airline ensures seamless connectivity for business and leisure travelers alike. Its recent expansion plans for 2025 include new destinations that cater to a growing demand for unique travel experiences, offering passengers an even broader choice of cities to explore. What makes Etihad stand out is not just the number of destinations but the ease with which passengers can connect through its hub in Abu Dhabi. The airline has meticulously designed its schedules to offer smooth transfers, minimizing layovers and maximizing convenience for its passengers. Limited-Time Offers Take advantage of exclusive fares to some of Etihad’s top destinations:

Abu Dhabi: Round trip, Economy, from AUD 1914
Athens: Round trip, Economy, from AUD 1560
Barcelona: Round trip, Economy, from AUD 1495
Cairo: Round trip, Economy, from AUD 1820
Dublin: Round trip, Economy, from AUD 1599

Hurry! Book your flights by 16 December for travel until 31 March 2025. The Pinnacle of Passenger Experience Etihad Airways has always prioritized its passengers, and this focus is evident in every aspect of its operations. From the moment you step aboard, you are welcomed into an environment designed for relaxation and enjoyment. For premium travelers, the airline’s Business and First-Class offerings are nothing short of extraordinary. Private suites, fine dining curated by renowned chefs, and exclusive lounges create a travel experience that rivals even the finest luxury hotels. Meanwhile, the Economy Class is far from ordinary, offering ergonomic seating, ample legroom, and an array of entertainment options that cater to all tastes. A Future-Ready Fleet Etihad’s fleet is a testament to its dedication to innovation. With significant investments in upgrading its aircraft, the airline is poised to offer passengers even more comfort and convenience. By 2025, Etihad plans to retrofit its Boeing 787 and 777 fleets, introducing new cabins that feature modern aesthetics, advanced technology, and eco-friendly designs. The upgraded cabins will include high-speed Wi-Fi, immersive entertainment systems, and thoughtfully designed interiors that enhance passenger comfort. These changes not only elevate the travel experience but also reflect Etihad’s forward-thinking approach to aviation. Sustainability at the Core As the world shifts towards more sustainable practices, Etihad Airways has positioned itself as a pioneer in eco-conscious aviation. Its commitment to sustainability goes beyond words, with tangible actions aimed at reducing its environmental impact. The airline has set ambitious goals to achieve net-zero carbon emissions by 2050. This involves investing in sustainable aviation fuels, optimizing flight operations to reduce fuel consumption, and implementing initiatives that promote environmental responsibility among passengers. Programs like "Conscious Choices" allow travelers to contribute to sustainable practices, ensuring that every journey has a positive impact. Unveiling Abu Dhabi For many travelers, flying with Etihad is an introduction to the wonders of Abu Dhabi, the capital of the UAE. The airline offers exclusive stopover packages, allowing passengers to explore the city’s rich heritage, modern marvels, and world-class entertainment. From the architectural grandeur of the Sheikh Zayed Grand Mosque to the thrilling adventures at Ferrari World, Abu Dhabi offers something for everyone. Etihad’s partnership with local attractions ensures that passengers can make the most of their time in this vibrant city, whether they’re stopping for a few hours or staying for a few days. A Vision for Tomorrow Etihad Airways isn’t just adapting to the future of aviation; it’s actively shaping it. With plans for growth, technological advancements, and a steadfast commitment to passenger satisfaction, the airline is poised to maintain its leadership in the industry. Its ability to balance luxury, efficiency, and sustainability sets it apart as a trailblazer in modern air travel. The Etihad Experience What truly defines Etihad Airways is its unwavering promise to its passengers: to deliver a journey that is as memorable as the destination. Whether you’re traveling for business, embarking on a family vacation, or seeking new adventures, Etihad ensures that your time in the air is a part of the story you’ll cherish forever. With a perfect blend of luxury, innovation, and sustainability, Etihad Airways invites you to experience travel in its finest form. Choose Etihad and discover a world where every journey is crafted with care, excellence, and inspiration.

Post-Budget Impact: Navigating Term Insurance Choices in India’s Current Economy

November 30, 2023, 9:58 am

New policies, reforms, and incentives have been adopted in India's latest budget to empower people, boost industry, and stabilise the economy. However, what does this signify for those who purchase term insurance plans? Several economic circumstances, including the recently implemented budget, may influence your decision to get term insurance. Term insurance is essential to financial planning as it cushions families against unforeseen events. Given post-budget economic shifts, knowing how to modify your decisions in this dynamic environment is critical. This guide aims to help you navigate these choices and select the right term insurance plan for your needs in 2024 and beyond.

Budget Highlights Relevant to Term Insurance Policies

Understanding the impact of the 2024-25 budget on the Indian insurance sector involves analysing the announcements that may influence premium prices, tax benefits, and the overall financial situation of an individual. This year's budget includes several initiatives to increase personal savings, promote financial stability, and facilitate access to insurance coverage. Thus, some key things to look for in this budget related to term insurance policies are as follows:

Modifications to Tax Benefits: Term insurance plans offer several tax benefits under Sections 80C, 80D and 10D. Policyholders can claim tax exemptions on premiums paid and maturity benefits obtained under certain provisions. Any changes to these budget sections could directly impact term insurance's attractiveness.
Economic Adjustments: Budgetary allotments for GDP growth, healthcare, and infrastructure have an impact on total disposable income, which in turn affects how much people are prepared to spend on term insurance.
Digital Initiatives and Insurance Accessibility: The government promotes digital access to financial products, including insurance, to facilitate online policy comparison and purchase.

Advantages of Buying a Term Insurance Plan in India’s Current Economy

Buying a suitable term life insurance policy will give you the following benefits:

1. Financial Stability for Your Loved Ones

If you are the only earning member of your family, getting a term insurance plan is a smart financial choice. It will ensure that your family is financially protected in your absence. The sum assured can cover daily expenses, clear debts, and pay for emergencies.

2. Affordable Premiums and Premium Return Options

You can get a term insurance policy at an affordable rate. Also, the premium rates are considerably low if you are still young and healthy. Apart from low premiums, some term insurance plans allow you to add a return of premium (ROP) rider. This optional add-on benefits you by returning your premiums if you outlive the term. Moreover, a term insurance calculator can estimate your premium for a specific policy.

3. Get a Joint Life Option

Some term insurance plans benefit you by adding your spouse to the same policy. This will give a lump sum amount to one partner if there is an untimely death of the other. With this benefit, it is possible to cover household expenses or financial responsibilities without setbacks.

4. Simple and Flexible Plans

Term insurance plans are straightforward and flexible. This means they can be easily customised based on your needs. For instance, paying a slightly higher premium can enhance your term plan coverage by adding an optional rider, such as critical illness or accidental death.

Factors to Help You Choose the Best Term Insurance Plan

Here are some other factors which will help you choose the right policy plan: Claim Settlement Ratio: This ratio represents the percentage of claims the insurance company has successfully settled out of the total claims received. A high claim settlement ratio indicates the insurance company has a good track record of settling claims. Benefits on Taxes: Section 10D and Section 80C tax deductions (up to ₹1.5 lakh) are attractive aspects of term insurance policies. These deductions were maintained in the most recent budget, making term insurance a great way to reduce taxes and increase financial stability. Options for Customising the Plan: If your financial needs change, you can easily customise an existing term insurance plan. You can adjust your coverage amount, riders, premium pay model, payout options, and premium payment frequency to meet your changing circumstances.

Final Thoughts

Post-budget, there are a few key tips to consider about term insurance. One is to increase the coverage amount as the sum you consider enough today may not be enough tomorrow when inflation pushes the costs. Also, you must take advantage of current tax laws by utilising Section 80C deductions, which can help reduce your taxable income.

Unveiling the timeless Heritage: Exploring the essence & evolution of the Rajputi poshak

December 5, 2023, 1:59 am

The Rajputana dress, known as the Achkan, stands as an emblem of heritage and tradition within Rajasthan’s vibrant culture, offering a captivating glimpse into history through its intricate weaves and elaborate designs. Its evolution, spanning generations, reflects a blend of opulence and sophistication while encapsulating the essence of Rajput identity and valor. Essence and Evolution: The Achkan, historically crafted from wool or cotton, signifies Rajputana’s artistic legacy. Its intricate embellishments, ranging from embroidery to sequins and ornate patterns, define its elegance. Typically seen in regal shades like blue or black, it emanates a sense of regality. The Rajputi Poshak, an embodiment of grace and tradition, symbolizes the heritage and cultural richness of Rajasthan’s Rajput community. This exquisite attire, with its intricate details and vibrant hues, transcends time, offering a window into the majestic history and valorous traditions of the Rajputana clans. Rooted in Rajasthani history, the Rajputi Poshak traces its origins to the royal courts of Rajasthan. Initially worn by Rajput nobility and royalty, this attire has evolved over centuries, adapting to changing trends while preserving its quintessential essence. Lehenga or Ghaghara: • A defining piece, the lehenga or ghaghara, represents the skirt, typically long and voluminous. Its intricate embroidery and vibrant colors reflect the cultural aesthetics of Rajasthan. • The choli, a snug-fitting blouse, or the kanchli, a waist-length jacket, complements the ensemble. These pieces are adorned with elaborate embroidery and mirror work, enhancing their allure. • The odhi or chunari, a long veil or scarf, beautifully drapes over the head and shoulders, adding grace and sophistication to the attire. • Intricately designed jewelry, including borla (headpiece), nath (nose ring), bajubandh (armlets), and payal (anklets), complements the Rajputi Poshak, accentuating its grandeur. Significance and Symbolism: The Rajputi Poshak holds deep cultural significance, symbolizing the valor, pride, and traditions of the Rajput community. Each element of this attire, from its embroidery motifs to its colors, signifies heritage, marital status, and social standing. Regional Variations: While the essence of the Rajputi Poshak remains consistent, different regions within Rajasthan exhibit their unique styles and variations. For instance: • Mewar: Known for its vibrant colors and intricate mirror work. • Marwar: Emphasizes simplicity with rich, contrasting colors. • Shekhawati: Celebrates opulence with heavy embroidery and royal motifs. Timelessness and Modern Adaptation: Despite evolving fashion trends, the Rajputi Poshak retains its timeless appeal. Modern interpretations incorporate lighter fabrics and contemporary designs while preserving the traditional essence. Its adaptability makes it suitable for various occasions, from weddings to cultural events. Heritage Preservation and Cultural Identity: The Rajputi Poshak serves as a cultural emblem, keeping alive the rich heritage of Rajasthan. Its preservation and continued significance in Rajput society reinforce a sense of cultural identity and pride among the community. Conclusion: The Rajputi Poshak, with its intricate craftsmanship and symbolic significance, stands as a testament to Rajasthan’s cultural opulence and the Rajput community’s legacy. Its vibrant colors, ornate embroidery, and historical roots continue to fascinate and inspire, embodying an enduring legacy of tradition and grace in contemporary times. As a cherished attire representing heritage and cultural identity, the Rajputi Poshak remains an emblem of Rajasthan’s rich cultural tapestry.

Canada Celebrates Remembrance day by unveiling the legacy of world war heros from India

December 5, 2023, 1:59 am

On the occasion of ‘Remembrance Day’ the Peel Art Gallery and Museum Archives (PAMA Museum) inOntariojoined hands with the Rajput Community of Canadaand theHindu Heritage Foundation of Canada to celebrate the heroes of World War I and II, particularly thecrucial role played by the Rajput Princely States and theirregiments, marking the first-ever discussion on a global stage about the aforesaid subject. Rajput regiments like the Jodhpur Lancerswere celebrated for displaying unparalleled valour in the battle of Haifa by valiantly ousting the Turks from Israel with swords and lances against a fortified Turkish position armed with machine guns and cannons. On the other hand, the hospitality of the revered ruler of Jamnagar who provided shelter to the polish children in distress was remembered with respect and admiration for his unconditional compassion. The able leadership qualities of Maharaja Ganga Singh Ji Bikanerwere also brought to light by discussing how he became the sole non-white member of the British Imperial War Cabinet in the First World War to hold the honour of being the only Indian signatory of the Treaty of Versailles in 1919, and how he became the first Indian to attain the rank of a General in the British Army. The event also highlighted the indomitable spirit ofRajput bravery from the north that extended to the Dogra regiments nurtured by theMaharaja of Jammu and Kashmir and the rulers of Kangra. There was an interesting revelation about how the Raja of Kangraset up a gun manufacturing factory for the world war. It was also discussed how the state of Bhavnagarplayed a pivotal role by establishing a war hospital for soldiers. Many lesser-known historical anecdotes were brought to light on this occasion by comprehensively discussing Rajput contributions in the great wars and their remarkable feats of bravery. Recipients of honours like the Order of British India, the Victoria Cross, the Military Cross, and those mentioned in despatches were remembered with great respect and admiration. It was an emotional journey for all the attendees to celebrate the soldiersrecruited from the length and breadth of the country. The Chief Guest for this occasion was Canada’s Senior Politician Mr. Patrick Brown, the Mayor of Brampton, who paid his tribute to the Rajput warriors of the world wars and recognized the historic contribution of princely state armies from across the world to our history. The event stood out for its use of multimedia displays and digital kiosks, offering an interactive experience with background music, making it immersive. A short film on the Jodhpur Lancers, Maharaja NawanagarDigvijaysinhJi, and Maharaja Ganga Singh Ji Bikaner, produced by the Rajput Community of Canada, was showcased. Endorsements from personalities like Maharaja Gaj Singh Ji of Jodhpur, Maharaja Aishwarya Chand Katoch of Kangra, Maharaja Dr. Karan Singh Ji of Jammu and Kashmir,MaharajRaghavendraRathoreof Jodhpur,Princess RajyashreeKumariof Bikaner, and Maharaja Jam Shatrushalya Singh Jiof Nawanagar were received. The event also hosted some special guests whose forefathers participated in the world wars and pivotal battles. Maharaja Dr. Karan Singh Ji expressed his joy on this occasion by noting it as the first of its kind inworld historyand long overdue, congratulating the organizing committee for undertaking such a unique project.MaharajaAishwaryaChandKatochof Kangraupon learning that the Remembrance Day event is being hosted by the Rajput community of Canada sent a generous note of appreciation. He was elated to note that this event brought forth information buried under modern news cycles, extensively showcasing the Katoch and Jamwal dynasty of Kangra and Jammu-Kashmir, particularly their contribution towards establishing the Dogra Regiment. The relentless efforts of Parakram Singh Jhala, YogeshwarPratap Singh Rana, Navneet Singh Dodiya, Deveshwar Singh Rathore,Yadvendra Singh Shaktawat and their dedicated team delivered forgotten history to the modern era, and provided insight into how Rajput soldiersshaped global history.The Rajput regimentsfought for the freedom of their own and for the freedom of otherswithsteadfast faith in their Kshatriya Dharma and this event was a humble effort to celebrate their glory on foreign shores. To sum up their magnificent past in the words of Thakur ShriJessraj Singh Sisodia, “To write at any length about the Rajputs is to relate the deeds and vicissitudes of one of the noblest and most ancient of known races, and to enliven many pages of the world’s history with startling episodes of romance. Their fame is recorded on every page of the stirring annals of the Rajput States of India.”

Variables to consider when purchasing a pre-owned luxury car during the festive season

December 5, 2023, 1:59 am

Since the onset of the festive season, the automobile industry has been quite optimistic about clocking robust demand after gauging buoyant customer sentiment. Gauging the festivity trend, the industry is highly expectant of registering a strong festive demand fueled by Muhurat purchases. Deciphering the trend more closely, it is being observed that the premium segment of cars is contributing significantly to the demand projected in the market. But with customers these days being cognizant of the shrinking ownership period that is well coupled with the high depreciation rate of new cars, a significant shift towards pre-owned luxury cars has been observed in recent years. Therefore, with the arrival of the festive season, the market looks quite promising for the pre-owned luxury segment as well. With customers getting premium cars that exude opulence while showing value for each penny spent, let’s take a look at the factors customers consider while making a purchase of pre-owned luxury car. 1. Segment When it comes to segment, undisputedly, SUVs top the preference list of consumers. The unfettered love for the segment can be gauged from the surging demand for SUVs projected in the market. Offering high-end features coupled with the competent performance of the car, this category is highly preferred for experiencing extravagance. With a commanding road presence, SUVs are highly preferred for off-roading purposes that can be used for everyday commutability as well. Following SUVs, sedans remain unmatched in disseminating that premium elegance. Sedans are highly sought for their agile handling, precise steering, and smooth acceleration, which make the perfect concoction for an enjoyable drive on curvy roads as well as in urban environments. 2. The age of the car Looking at consumer behavior, it has been observed that 2-3-year-old cars are highly in demand. The cars in this particular bracket make for a good option considering the fairly new state of the vehicle coupled with the presence of updated technology in terms of mechanics or features. This is succeeded by a decent preference for cars ranging between 4-5 years old. Giving an adequate performance, the cars in this age category, clock a satisfactory demand. Going further, the demand plummet significantly for cars more than 5-6 years old, owing to the deteriorating state of the cars. 3. Fuel preference The preference for petrol stays strong in the market. Petrol cars are highly desired for the fuel efficiency they offer while projecting a low maintenance cost and contributing to the dissemination of less pollution as compared to others. Hybrid cars are also gaining a lot of popularity given to their advantage of low operational cost coupled with no range anxiety. Diesel cars register the least demand in the market, keeping in mind the environmental pollution they create while imposing a higher maintenance cost as compared to other cars. 4.Color Color also plays a determining factor while making the purchasing decision. Here, when it comes to color, white remains timeless. It can be considered to be the all-time favorite amongst the customers. Black and blue colorsare also in demand for boasting a good presence on the road. Going down the list, silver is the least popular color when it comes to selecting a car. The author is a Co-Founder and MD of Luxury Ride.

Remembering the Noor of Indian Royalty Raja Suleiman Khan of Mahmudabad

December 5, 2023, 1:59 am

One thinks of family lineage when it comes to royalty. When I think of Raja Saheb of Mahmudabad, fondly known as Suleiman, who passed away on the 4th of October, 2023, I think of his intellectual lineage. Born in a family of La Martinere Lucknow alumni, Raja Saheb’s schooling years were spent in Karbala, Lucknow, and later England. His forefathers had been instrumental in establishing Lucknow University and Aligarh University. Growing up in this atmosphere, Raja Saheb went on to complete his Mathematical Tripos at the University of Cambridge. He spent many years at Cambridge, as a PhD student in astrophysics and teaching undergraduates but most importantly, here he met the love of his life, Rani Vijaya Khan, who, at the time, was studying literature. He briefly researched at the Institute of Astronomy in Trieste, Italy as well. But destiny beckoned him home to take on social responsibilities. Well-versed in Persian, English, Urdu, Hindi and Awadhi, his inheritance included one of India’s largest private libraries with a collection of remarkable manuscripts and books. His brooding nature added to the joy of collecting and over time grew into a full-fledged library now housed at Mahmudabad House in Lucknow. He was raised in a family where the stalwarts of India’s independence, Nehru and Gandhi, and his father were deliberating the idea of what this country would come to be. Along the decades of challenges that were to unfold, these values from formative years remained tethered to the way he led his personal and public life. I first met him as a student at Ashoka University during my visit to Mahmudabad to observe and study the commemoration of Muharram. Having been well-versed with such settings, I was expecting royal protocol to follow in our meeting with the family. And then, Raja Saheb descended as Noor does. A light that does not blind but radiates in a way that you may find yourself more easily in its bounty. Such is the nature of Noor- to illuminate. Soon, extended dinners every evening with Raja Saheb, Rani Sahiba, their sons, Ali and Amir, my friends Aashima and Mahoor, often visiting scholars from around the world, and of course the ever-present staff, Osman Bhai and Chand Bibi, became my moral compass. Those who knew him, very well recognise his gift for regaling his dinner audience, be it at the round family table in Mahmudabad House or the grand one in Mahmudabad Qila’s Muqeem Manzil. He moved from Yeats to Mirabai to physics to Indira Gandhi more swiftly than a deer could sprint. As three starry-eyed kids, my friends and I could never process this ocean of wisdom that felt more like a deluge. Years later, I know that was never the purpose. At his son’s wedding, when a guest noticed us engrossed in conversation and couldn’t help but wonder who I was, Raja Saheb quipped- I’ve known her for longer than time. It is then that his Noor truly dawned upon me- Raja Saheb’s eloquence was never about what he actually said but what he was suggesting. He spoke no words but codes. Only Kabir, Krishna and the Sufis were crafty enough to hack that. And he certainly derived joy from the occasional befuddlement he caused many a journalist and influencer who sought glamorous nitpicks from this hermit-like royal. In some ways, his demeanor seemed simple to reach and yet his presence was transcendental, far and beyond places the human mind can reach. This was not the only world he inhabited. By the time I met him, he had lived in Cambridge and since returned to homebase to political innings as a legislative member in the Uttar Pradesh Assembly representing the Congress. In Mahmudabad, however, he lived a life different from any of these. He was unlike any Indian royal in his unparalleled austerity and commitment. Back home, his ultimate royal duty was to provide solace and faith to the people in his passionate Marsiya orations. This was a very different concept of royalty. It was steeped in humility and arduous service to people who gathered at the Qila during Muharram, seeking liberation from their daily suffering through acts of public mourning. He felt their suffering as deeply as he felt of the Imams martyred in the war of Karbala. The image of him standing shoulder-to-shoulder with Dalit devotees lighting lamps in the Fort courtyard on the eve of tenth of Muharram will always live in my heart. Every year, his heart grieved through his teary eyes as he walked among the people of Mahmudabad, tirelessly through days and nights, cutting across class, caste, and religion- fault lines that gnaw at India’s soul today. In his blood and flesh breathed the ethos of this country. India has lost its most loyal citizen but I have lost more. Where will I seek refuge now? If only unleashing my inconsolable emotions was enough. But it is not. In this life, if I ever have the fortune of a good deed to my credit, I will know that I have found his Noor in mine. If wisdom were a man I’ve seen him. His words look like pearls Brimming for eternity and a day… -Krishna Shekhawat, PhD Scholar, UC Berkeley, USA

Couture, Cuisine, and Culture Royal Fables 2023 Unveils India’s Regal Splendor

December 5, 2023, 1:59 am

The event offered an immersive experience into the rich culture, craftsmanship, and cuisine of Princely India. More than an exhibition, it provided a window into the grandeur of India’s royal heritage. In a dazzling display of opulence and heritage, the 14th edition of Royal Fables opened its doors at the prestigious Araya Bagh in the heart of New Delhi. Curate by the visionary Anshu Khanna, founder of Royal Fables, and luxury consultant Charu Singh, the event offered an immersive experience into the rich culture, craftsmanship, and cuisine of Princely India. The festivities began with a grand gala evening, artfully curate to encapsulate the essence of Princely India.The highlight of the evening was the presentation of Authentic Marwari cuisine by Sarkar Saheb Raghavendra Pratap Singh of Jhalamand under the brand Kitchen of the Kings. This culinary spectacle, deeply rooted in Rajasthan’s traditions, earned praise for its exquisite flavors. Attendees were treated not only to a feast for the eyes but also a feast for the palate. Set against the backdrop of vintage cars from The Titus Museum, the evening resonated with the diverse flavors of India. Amidst the artistic and culinary wonders, the evening came alive with a captivating performance by Anhad Khanna, Ejaz Hussain, and Kamakshi Khanna, adding a melodic and soulful dimension to the event. The 14th Edition of Royal Fables served as a platform for the most exquisite creations from palace karkhanas. With over 40 ateliers and artisans, the event unveiled more than 100 unique craft stories, captivating both royalty and attendees alike. Royal Fables became a stage for the convergence of heritage and creativity, offering a rich tapestry of craftsmanship and tradition. As patrons marveled at the diverse array of Indian art and couture on display, ranging from enchanting pashmina stories to heirloom shawls, contemporary collectibles, and intricate miniatures, they indulged in retail therapy, taking pieces of this extraordinary experience home with them. More than an exhibition, it provided a window into the grandeur of India’s royal heritage. By bringing together the finest creations from palace karkhanas and contemporary artists, the event not only celebrated the past but also showcased the richness of India’s handmade traditions. It stood as a testament to the enduring legacy of Princely India, captivating the senses of those who appreciate art, culture, and the regal splendor that is an integral part of India’s history.

Fashion and design under the roof of royals

December 5, 2023, 1:59 am

Royal Fables, my small offering to the world of Princely craft and couture comes alive this weekend. Here is a glimpse of some of the traditional crafts created within palace karkhanas to watch out for. RANI JAYKIRTI SINGH OF BARIA Rani Jaykirti Singh of Baria is famous for her very ingenous hand block prints . She uses the hand block printing tradition and incorporates it into contemporary wear. Her ensembles use embroideries like zardozi, aari, pittan, salma-sitaraand sequins. In her saris traditional embroideries find a rich expression. ROSETREE By Kanwarani Kamini Singh & R. K. Chandini Singh of Seohara Rose Tree gives a twist to formal dressing, ushering in a palette of beige to earthy tones, with dashes of ochre, orange, cobalt blue and maroon. The eclectic range comprises shararas, anarkalis, kurtis and flowing aabha kurtas. Kanwarani Kamini Singh and her beautiful daughter R.K. Chandni Kumari work out of an atelier within their ancient haveli in Seohara training and empowering local women artisans. CHAASMI By Nandiniy Singh Lucknow Nandiniy Singh of Gaura, brings alive the essence of Lucknow, of Awadh, her understanding of poetry, her regional heritage, a culture that she seemingly effortlessly imbues into her label ‘Chaasmi’. She believes in fluid synthesis of craft and fashion in creating timeless pieces using traditional embroideries like Zari Zardozi, Aari, Jaali, Pitta work, Mukaish, Parsi Gara, Crewel Stitch, French Knots, Hand painted, Sequins, Pharesha, Beads work. KanwaraniRituSinhWankaner An FDCI designer, Ritu dresses film stars in her anarkalis, farshis and embroidered jackets all block printed, embroidered and embellished by hand. Her expertise in gotapatti is couture quality. BBG Royals Nidhi Sah and Digvijay Singh BBG Royal is sure to be found in every blue blooded woman and man’s wardrobe. Founded by artists Nidhi Sah and Digvijay Singh (His mother was the princess of Awagarh), the brand recreates vintage iconography on the finest chiffon sarees and cotton shirts. BBG Royals creates limited-edition digital printed chiffon saris, featuring floral and animal prints with true royal splendor. Their artworks, reproduced digitally are further enhanced with embellishments and embroideries. Bera Jackets By Kunwar Yaduveer Singh Kunwar Yaduveer Singh Bera hails from a region famed for the Jawai Lake and leopard sanctuary. Scion of the Bera family, he employs local shepherds in Castle Bera, his home, teaching them the technique of making hand-tucked hunter jackets in canvas and cords and Fulgars (hand-tucked coats in velvet) that are worn by the Rajputs during the cold desert winter. House of Seohara By Kunwar Prithvi Raj Singh Seohara Prithvi Raj Singh’s most recent endeavor transcends his legal and intellectual pursuits. He launches “House Of Seohara,” a fashion house that rekindles the ancient art of stitching. In a world dominated by fast fashion and mass production, House Of Seohara stands as a beacon of tradition and craftsmanship. Sri Tanabana By Thakurani Darshana Kumari of Mandawa, R.K. Geetanjali Shah Tehri Garhwal and TikaraniPriyanjaliKatochKangra- Lambragaon. From Mandawa comes a royal weave story recreated by the enterprising ThakuraniDarshanaji who hails from Mansa in Gujarat and who brought with the weaving studio of her parental state. Sri Tana Bana creates the finest weaves, keeping their pure gold weave tradition alive. She is supported by her daughters who infuse in the weaves Kanota Essentials by KunwaraniRajyashri Parihar of Kanota Born in Avadh and married into Shohratgarh, young Rajyashree rekindles the romance of exquisitely hand-painted saris, a must in every royal woman’s wardrobe. She also designs stunning block printed linen and home essentials in natural textiles. Rajkumari Nandini Singh Jhabua From the Princely state of Jhabua in Madhya Pradesh, Princess Nandini Singh nurtures the Gond artist in her royal atelier. Also supporting other arts of her region, she works with master illusionist artists as well as keeping Islamic calligraphy alive. Namrata Singh Jewelry designer Namrata Singh born in a noble family from Kishangarh, Rajasthan and residing in Jaipur, derives inspiration from blooming flowers, Mughal architecture, celestial influences, and her world travels. She uses various stones, both precious and semi-precious, to create truly inspirational pieces of jewelry. Amrita Rana Singh A jewelry connoisseur from the sun-kissed mountains of Nepal, AmritaRana Singh keeps alive the royal tradition of jewelry making, crafted in a style imbibed from European Ateliers. Chandelier earrings, lattice design necklaces, delicate clasps all set in the finest diamonds, emerald, rubies and sapphire, her collection is a veritable visual treat. Princess Diviya Kumari Jubbal Himachal, known for its pristine mountains is also home to great embroidery studios. Diviya Jubbal, a healer and coach presents an array of hand embroidered ensembles that she is finishing in her atelier in Delhi.

Princess with a golden heart

December 5, 2023, 1:59 am

The spokesperson of Indian National Congress in her region of Madhya Pradesh, a graduate from London School of Economics, a royal and a philanthropist, Kumari Shubhangana Raje strikes one as a young woman on a mission. Her aura of warmth and deep intellect and her delicate persona cloaking her feisty spirit that comes to fore when she is at work, empowering and educating the less privileged tribal girls of her district. She is the daughter of Rajkumar Dhruv Raj Singh, a Daly College alumnus, who is known in his region for not just mentoring farmers but also striving hard to be the voice of his people of Kunjrod in the rural district of Dhar. His father Shrimant Raja Narender Singh was the ruler of Jamnia, a Princely state that historically ruled over 86 villages covering 200 kilometres. The state of Jamnia was founded in 1555 by Songara Chauhans, with their ancestry stemming from Chaturbhuj Chauhan who were granted the title of Raja during the Mughal period by Badshah Jahangir. She chats with The Daily Guardian on her vision for her region and how young, educated and aware girls like her can walk the talk. Having founded Kunjrod Welfare Foundation she is focusing on the campaign of empower and educate in her region. Q.Tell us a little bit about your foundation A. Kunjrod, the name is inspired by Dev Prakriti from the Bhagwad Gita which literally implies actions done with goodness at heart. Our mission is to help young girls in their journey towards education and self-sustenance. Q.Please share the work you are doing in this foundation. A. I started multiple campaigns in rural areas of Dhar district which is where my ancestral state was. One of my main campaigns is the ‘Educate and Empower’ campaign to promote education amongst tribal girls I reached out to about 2000 tribal girls in district Dhar and have taken up their needs through my foundation. Q. How is your foundation assisting them in their education? A. Beti padhao is not enough. These girls do go to school but don’t have the means to buy even their text books or notebooks. We distributed competitive examination books amongst girls who aspire to give NEET, IIT JEE and Civil Services examinations but cannot afford to buy the study material. We are also distributing story books in Hindi to develop reading habit among primary school girls and Hindi and English grammar books to improve their language skills. I have already distributed 1000 pairs of footwear to girls who walked barefoot to schools. The idea is to ensure that these girls don’t just get a chance to go to school but also excel at what they do. Q. How did you select the girls you wanted to empower? A. Our campaign was to educate and empower tribal girls living in government hostels across the Dhar district in Madhya Pradesh which is by far most backward. I worked with hostels like Kasturba Gandhi Adivasi Kanya Chatrawas, Sulawad, Netaji Subhash Chandra Bose Adivasi Kanya Chatrawas, Sagor and Adivasi Kanya Chatrawas, Kunjrod and in the bargain we had helped over 10000 girls. I also visited the girls orphanage in Nalchha block of Dhar district where the girls have either lost their parents or have been abandoned by them. Here we took on the responsibility to provide sanitary kits to the girls, a very important need that is not being taken care of by the government. This orphanage has now become a beneficiary of our menstrual hygiene campaign India hosts about one-fifth of the world’s population of adolescent women. Unfortunately, most of them, especially those living in rural areas, typically face many restrictions that limit their agency and autonomy. During menstruation, these restrictions become much more severe, preventing them from participating in many aspects of social life, worshipping, bathing and cooking. Udita Yojana was implemented by the state government in Madhya Pradesh for free distribution of sanitary pads. However, it continues to remain in the pilot mode and needs to be scaled up. Improved menstrual hygiene and health has been a part of policy discussions in India for long but the discussion has largely been blind to existing geographical variations. Future interventions and programmes to enhance menstrual hygiene among adolescent women must focus on reducing geographical differences in rural India. District wise requirements need to be considered.

Get the Alia Bhatt look from these royal ateliers

December 5, 2023, 1:59 am

Alia Bhatt is media’s darling. The icon of fashion that every young girl adulates. What she wears becomes fashion immediately. Now, a young girl known for either her laid back, boyfriend shirt look or her chic, moulin rouge avatar, she suddenly brought the arch light on what I call Rajwada chiffons. Emerging as the diva quintessence in bold and luscious ombre dyed saris, coupled with digitally printed blouses and interesting jhumkas, she danced in glee to ‘what jhumka’ and the nation swirled with her. Created by Manish Malhotra, dare I say these saris were straight out of the album of erstwhile Maharanis known for their understated but gorgeous chiffons. Now, what Alia draped are the kind of saris so many palace ateliers and women of regal descent create. As well as master dyers who have global icons wearing what they make. So here is a list of stores you can safely shop the Alia Bhatt look from. First stop is of Mohammed Tayeb Khan, the tie and dye master craftsman from Jodhpur, who received the Padma Shri in 2001 for his technique of shaded leheriya or merging of dark and light colours without the use of machines. “Shading is usually done using machines. I invented a technique to do it by hand and to do it on thicker fabrics,” says Khan. Khan’s skill has been perfected over seven generations. “We were associated with the Mewar royal family. My ancestors were known as Raj Rangrez,” says Khan who joined the family business when he was eight. Khan’s vivid use of contrasting colours, his striking leheriyas and fine bandhej with small danas, called raidana as against the large danas are worn by every royal woman of India. He is a maestro at Bandhani, a tie and dye technique that involves dyeing a fabric and tying it at several points in vivid colours which produce different patterns that are known as Bandhani, Leheriya, Mothda, Chundari, Dhanak, Pomcha, Panchrangi and Satrangi. Jodhpur and Jaipur are the main centres of Bandhani and it is a source of income for hundreds of artisans. Creating a textural treat on this ombre dyed chiffons, these handmade leheriyas is Just Chiffons, a brand crafted by Kanwarani Dipti Singh of Kachi Baroda and taken forward by her daughter Rohini Gupta. Just Chiffons works white fabric upward to create very diverse ombres, or jewel toned solids that are then embellished with the finest bead work, aari work and of course the forgotten craft of cutwork that Rohini is responsible for reviving. Another classic look for Rohini is the blend of old borders with leheriyas that are hand dyed or painted. From her store in Indore, we travel to Jaipur to Jaykirti who creates her own digital prints on chiffons. Besides upping the look of solid-coloured chiffons with the daintiest of gota patti, aari and bead work. Hugely inspired by the museum collection residing in city palace, she is also behind some stunning styles in thread worked chiffon saris. In Pratapgarh can be found pure gold tissues, as well as chiffons rendered beautiful with tukri ka kaam. Created in the atelier of Alka Rani Singh, a daughter of the Pratapgarh princely family, these saris are straight out of Alia Bhatt’s Rani look. Created nearly a decade ago though. Next door to that are two ladies known for their master strokes in revivalism. Pakke Rang, created by Kanwarani Sunita Singh of Khajoorgaon, her chiffons are hand painted and then delicately highlighted with golden mokaish. Created in Avadh, her hand painted chiffons are reminiscent of the delicate fashion the Thakuranis belonging to the various talukdaris of Avadh were known for. Shilp Manjari by Princess Manjari Singh of Ayodhya recreates the beauty of bead work, the district of Faizabad is known for. She adds to these chiffons her potlis that recreated Indian flora and fauna in beads. Add to that a beautiful chand bali or jhumka from Pushpita Singh and voila, what you have is a splendid series of saris that can help you turn into a Rocky’s rani sans a struggle.

Vintage Car Rally emits a lustre of Royalty

December 5, 2023, 1:59 am

In a spectacular showcase of opulence and heritage, Noormahal Palace, a landmark in India’s architectural history, hosted an enchanting Vintage Car Rally that transported attendees to the grandeur of a bygone era. The event, organised by Noormahal Palace in partnership with the Heritage Motoring Club of India (HMCI), unfolded as a celebration of automotive artistry, history, and the need to preserve India’s rich heritage. This remarkable event stood as a heartfelt tribute to the golden era of motoring, etching an indelible memory in the hearts of vintage car enthusiasts and aficionados nationwide. The Vintage Car Rally, inaugurated by Nawab Kazim Ali Khan, former minister of Uttar Pradesh, and Chander Shekhar Puri, Corporate General Manager of Noormahal Palace, embarked on its journey from DLF Promenade, Vasant Kunj in Delhi, culminating at the resplendent Rani Bagh of Noormahal Palace in Karnal – a city steeped in history, known for its association with the legendary figure, Raja Karna, from the Mahabharata. As the procession of vintage automobiles gracefully traversed the streets, it not only captured the gaze of onlookers but also transported them to an era of magnificence and grandeur. The rally unveiled a captivating fleet of meticulously restored vintage automobiles, each embodying a unique narrative that transcends time. With an exceptional collection of 16 vintage cars, the event unveiled the vinni stories of automotive artistry, embodying the opulence and refinement that defined the bygone era. Among the exquisite lineup, the rally featured notable vintage gems, including the 1937 Rolls Royce 1938 Buick 90 L Limousine, 1938 Chrysler Plymouth, 1941 Cadillac Series 62 Coupe,1947 Bentley MK 6 Drophead, 1954 Bentley S1, 1955 Land Rover Series One, 1958 Willys Jeep,1963 Fiat 1100, 1972 Cadillac Sedan Deville, 1966 Chevrolet Impala, 1968 Volkswagen Beetle VW1500, 1969 Volkswagen Beetle. The breathtaking collection was a vivid reminder of the fusion of elegance and engineering that once ruled the roads. The Vintage Car Rally held at Noormahal Palace was not just a showcase of opulence and heritage; it was a procession of history’s most alluring and exquisite automobiles. Each car that graced the event brought with it a story of its own, a tale of an era where craftsmanship and elegance melded into extraordinary masterpieces. Leading this enchanting parade was the 1937 Rolls-Royce 25/30 All Weather Convertible, owned by the venerable Mr. Madan Mohan. This masterpiece of British engineering elegantly blended open-air exhilaration with the regal sophistication that Rolls-Royce is renowned for. A few steps away, the 1938 Buick 90L Limousine, lovingly cared by Mr. Diljeet Titus, exuded an air of dignified elegance. Its spacious interiors and artful exterior detailing epitomised the grandeur of pre-war luxury travel. Making a bold statement was the 1938 Chrysler Plymouth, owned by Mr. Shamsher Singh Shahani. From India’s prestigious royal families to corporate honchos, avid car collectors, restorers and social dignitaries, the vintage car rally witnessed the gracious presence of many notable personalities. Set against the backdrop of Noormahal Palace, an architectural marvel inspired by Mughal and Rajputana schools of design, the rally evoked a sense of regal nostalgia. The ornate palace, with its intricate details and grandeur, provided the perfect setting for these vintage treasures, merging the past and the present in a seamless symphony of elegance. In the heart of India’s history and culture, the Vintage Car Rally at Noormahal Palace painted a picture of luxury and heritage intertwined, showcasing the magic that vintage automobiles bring to life. As the engines roared and the wheels turned, history was reborn, leaving an indelible mark on the landscape of India’s motoring legacy.

Regal & Royal Udaipur

December 5, 2023, 1:59 am

No place is more beautiful than Udaipur in fall-winter. The generous lake brimming with crystal blue water, the many havelis by its shore, telling a majestic tale of yore and the statuesque City Palace, built by Maharana Udai Singh II of the Sisodia Rajput family as he shifted his capital from the erstwhile Chittoor to the newfound city of Udaipur. As tourists flock this city of lakes and as weddings become the flavour of the season here are five top royal experiences I recommend and have curated for the connoisseur tourist. A series of unique ideas that recreate the history and regalia of Udaipur: 1.Book a dinner with Rao Himmat Singh Bedla, a culinarian par excellence, a leading Umrao of the Mewar state and a custodian of a legacy of food as revered as Sailana cuisine amongst the royals. His ancestors were the Prime Ministers to the Maharanas and over the years developed a unique food legacy that has featured in globally acclaimed media. His property, Bedla house has a personal touch and dinners orchestrated involve the Rao Saab himself sit on the table and regale the guests with culinary fables and his kitchen tales. 2.Book a high tea at the Crystal Museum in Fateh Prakash. Legend has it that the items on display were ordered by Maharana Sajjan Singh in 1877 and remained unopened for 110 years. It was in the late 1980s that they were finally displayed in the museum. Nestled inside the Fateh Prakash Palace, a heritage property is the Crystal Gallery which boasts of the largest private collection of crystal in the world. Lovers of the art fall in love with the majestic beds, chairs, tables, consoles and collectibles, all crafted in the finest crystal at European ateliers. 3.Enjoy a royal OTT experience at Jagat Niwas with Akshyaraj Singh, a leading fashion influencer. A voice for all things fine he will personally line up a class where you learn more about the art of pagri draping, the richness of regal dressing and the heritage of Mewari angarkhas. Hear him speak of all this over a champagne evening. 4.Interact with the pichwai artists of Nathdwara as guests of the Kotharia family, leading Umraos of the erstwhile Mewar state. Nathdwara is a Hindu temple dedicated to the worship of Shrinathji. It is an important shrine for Vaishnavism. The deity of the Lord Krishna according to the legend, is self-manifested from stone and emerged from the Govardhan Hills. Pichwai art is basically a gold paint infused painting on cloth of Lord Krishna which hangs behind the idol of the Lord. 5.Visit the beautiful Chunda Polo Club run by Thakur Veeramdev Singh Krishnawat. An avid polo player he has revived the game of polo in Udaipur. He is from the Thana Thikana, 50 kilometers out of Udaipur. First in the line of ascendence, they are the family whose heirs were adopted and placed on the throne of Mewar. In fact, the last maharaja of Udaipur was adopted from his family. Veeramdev Singh Krishnawat has also restored his Chunda Palace into a gracious hotel.

To be Good, than Great

December 5, 2023, 1:59 am

As she strode effortlessly in her elegant maroon attire and walked into the room, she looked every bit royal. Belonging to the Nilagiri Princely States of the Orissa States Agency, I had the luck to interview Miss Prakriti Kumari. Humble and polite, she exuded an aura of warmth about herself. She is a patron of traditional art, culture, and cuisine. While simultaneously exploring the corporate field, she manages to set a precedent for what she believes in to achieve a fine balance in life. What struck me was her emphasis on being a good person rather than a great one. Q. To begin with, please talk about yourself, your hobbies, interests, etc. A. I am a sensitive person who seeks strength in becoming emotionally intelligent. My interest lies in reading, writing, and watching credible TV shows. I try to gather as much knowledge as possible, be receptive to new experiences, and keep myself updated with the happenings of the world. I love tending to street dogs and have adopted one as well. I believe consideration for people and animals makes one humble and grounded. Given the constant rush of the world, where everyone aims to go for the best and seeks instant gratification, it is important to live in the present and live gratefully. I work as a coordinator in the international relations team at a prestigious institution in Bhubaneswar. My interest lies in the fact that communication makes people come closer, and I strive to use my skillset to the best of my abilities. Coming from a royal family, I am fully aware of the prestige that comes along, and I don’t believe in relying on that silver spoon. I strive to break this stereotype about royal lineage. Q. What was your life like while growing up, as a child from a royal lineage? A. One of the most prominent facts I got acquainted with, was how I lived in a protected atmosphere. Where I hail from and the value system I inherited don’t motivate me to go out and do what you call ‘party hard’. It is imperative to keep in mind the image and reputation of the lineage while keeping our individuality intact. I believe that there should be a fine balance between experiencing new things and retaining who we are. I acknowledged and accepted who I was with pride and, hence, never questioned my identity. Furthermore, if anything, it has only inspired me to go above and beyond and take steps to be a good human and humanitarian. Be it tending to the stray dogs, helping the needy, or encouraging my house-helps to further inspire their children to study hard and do well, I feel it all counts as goodwill. I believe that to be even worthy of preaching, one has to set a suitable precedent. If my people respect me, I make sure that I give them a reason to do that, and not just my lineage. Q. What is one observation from your young days that you now see as an essential takeaway? A. I was born in Delhi, brought up in Bhubaneswar, and have met people from all walks of life. While in school I had friends from supposedly the higher strata of society, while in college I befriended people from not-so-affluent households. The point is, I learned a lot from both diversities and in-betweens. Every individual has something or other to bring to the table; we’ve got to see what fits our belief system and subsequently make room for more beginnings and novel takeaways. One aspect that enables us to become familiar with different personalities and places is travelling. I love to travel and encourage others to pursue it as well. I believe travelling is something that opens our minds and makes us more privy to the vastness of the world, hence humbling us. Once we notice a change in our perspective, be it that of acceptance or a revived sense of being, it shows that travel has indeed changed us. Q. Who would you take as your inspiration? Someone you look up to? A. My father. My grandfather used to encourage my dad to go beyond the royal realms and explore possibilities in the corporate field. He urged him to take a leap of faith, believe in himself, and make a mark. Hence, my dad began his journey at the tender age of eighteen in the fields of hotel management and liaison, and later becoming the Vice president of the Reliance Group in Orissa, continuing to work there for eleven years. Moreover, his corporate duties never gave him a reason to neglect his heritage role. He tends to our ancestral Palace in Bhubaneshwar and even keeps coming up with innovative ideas for its maintenance. The fine balance that he brings to being a responsible parent and diligent son to the family is admirable to me too. His willingness to get out of his comfort zone and prove his mettle with no support whatsoever is what makes my father my inspiration, and my role model. Q. Do you believe that there are stereotypes or certain opinions about Indian royalty in today’s times? If yes, what would your insights on that be? A. India is a land that had a rich princely past, the royals of which still exist today and are revered and respected a lot. I feel the narrative of what does and what does not begin with oneself. Though I haven’t come across any misconceived notions about my lineage as such, I could say that royalty has come a long way. Indian royalty is more ‘real’ now, for we have learned our ways beyond the princely world and into the real one. The only difference I witness is that of a good one- how everyone is making efforts to make their mark in this world, whatever be their family background. Maharani Gayatri Devi ji for instance, knew from the very beginning, how and what it was to bring about a balance in defining oneself while keeping the label of royalty intact. One can have their own rules while still following traditions, right? Be a rebel, but, of course, with a cause.

The royal legacy of weaving techniques and timeless textiles

December 5, 2023, 1:59 am

India has one of the world’s oldest textile histories, dating back to prehistoric times. We find references to clothing styles and materials from the Vedic period (1500–800 BCE), which reveal changes and developments in ancient India’s textile history. A weaver in the Rigveda is described as vasovaya, the male weaver was called vaya whereas a female weaver was called vayitri.The earliest reference to the printed fabric is found in the word ‘Chitranta’ in Apastamba Srauta Sutra from the Vedic era. This suggests how textile production and craftsmanship were integral parts of well established textile culture holding immense cultural significance. Not just seen as objects of utility, they were deeply intertwined with rituals, traditions and social customs. The reverence for textiles as symbols of prestige and status grew over time, leading to their adoption by royal and princely families as a means of showcasing their wealth and power. Indian textile traditions have a rich heritage, with many weaves gaining popularity through royal patronage. The handloom industry was the mainstay of Indian clothing for a long time until the arrival of the British, which eventually led to its decline. Despite this, Indian handlooms were known for their grandeur and high quality, with skilled weavers in each village producing exquisite textiles. Royal families provided patronage and support to artisans, weavers and textile centers, allowing these traditions to flourish. The weaves were often worn during significant royal events such as weddings, coronations and festivals. Showcasing these textiles on important occasions thereby highlighting their grandeur and adding to their royal appeal. This association with auspicious and celebratory moments further solidified their status as quintessential symbols of royal and princely India. Pashmina Immensely popular and in demand across the world, one such weave is that of Pashmina which began in the valley of Kashmir in the 15th century when the cashmere wool was discovered by the Persian saint Mir Sayyid Ali Hamdani. Made by skilled artisans, it includes intricate floral designs and patterns on pashminas which are inspired by floral designs prevalent in the valley. Many historians also credit Zain-ul-Abidin as the ruler who laid its foundations by first introducing tapestry woben shawls from Turkestan. Emperor Akbar of the Mughal Empire played a significant role in popularizing pashmina shawls. He was inspired by the luxurious wool shawls of the Iranian empires and began commissioning shawls made from the native pashmina wool. Initially exclusive to the Mughal royals, pashmina gained popularity due to its high-quality and softness and spread to other Asian regions. Iranian rulers traded their wool shawls for pashmina, and Sikh Maharaja Ranjit Singh introduced it to the rest of India. Pashmina shawls also became traditional dowry gifts for noble families in India and Nepal, alongside precious jewels. Apart from Pashmina, other weaves such as the Kani and the Pattu weave are also produced there. Paithani Another legacy that that has stood the test of time and holds a special place in weddings, adorning beautiful brides is that of Paithani weave. Originating in Maharashtra, it draws its name from the royal dynasties of Paithan. This exquisite weave combines silk and zari, featuring unique traditional motifs like Hans, Ashraffi, and Asawalli, all meticulously handwoven. What sets Paithani apart is its symmetrical design, where both sides of the saree look identical. The Paithani saree is an integral part of Maharashtrian weddings, playing a significant role in the bridal ensemble. Known as the “queen of silk sarees,” Paithani silk has graced the palaces of royalty throughout history. Queens and princesses of ancient times favored this opulent fabric, elevating it to prominence and capturing the essence of regality. Banarasi The Banarasi weave, originating in Varanasi, India, is another centuries-old tradition deeply rooted in the region’s cultural heritage. Benarasi saris are famous for their lavishness, intricate designs, and luxurious fabrics. The art of weaving silk was introduced to Banaras during the Mughal era around the 14th century. It quickly became a prominent center for silk production and weaving, thanks in part to the support and patronage of Mughal emperors like Akbar the Great. Skilled artisans have passed down the weaving techniques for Banarasi saris through generations. These saris are traditionally handwoven using pure silk threads, and their designs incorporate zari, a metallic thread made of gold or silver. The zari work features detailed patterns inspired by nature, flora, fauna, Mughal art, and geometric designs. During the British colonial period, Banarasi saris gained even more popularity and became highly sought-after attire for affluent women and were often worn by royalty and nobility. The association with Indian royalty further elevated the status of Banarasi saris, making them a symbol of prestige and elegance. Patola Derived from the Sanskrit word “Patta,” Patola is a sacred silk fabric with miraculous powers according to Indian belief. This particular weave is said to have traveled beyond India and is treasured in Thailand, Indonesia, and Malaysia wherein it is considered a protective cloth that wards off evil and promotes good health. Indonesians take great pride in wearing Patola, referring to it as the cloth created by the gods. In Gujarat, Patola saris emerged in the 11th century after the decline of the Solanki Empire. The Salvis, a skilled caste of silk weavers from Karnataka and Maharashtra, migrated to Gujarat to gain patronage from the ruling Solanki Rajputs. Patola saris became a symbol of social status, particularly in wedding trousseaus. Another tale suggests that King Kumarpala, 900 years ago, elevated Patola to a symbol of wealth through his patronage. Crafting a Patola sari is a labor-intensive process taking over three years. Two weavers work diligently on a traditional loom, weaving only eight to nine inches per day. Precision is crucial, with flawless positioning of the warp and weft threads to achieve the desired design. Jamdani Centuries ago, the kingdom of Rahmi in Bengal produced cotton fabrics so fine that they could pass through a signet ring, as noted by the Arab traveler Sulaiman. Later, Islamic influences infused these fabrics with countless motifs and colors, utilizing the magical technique of adding discontinuous threads to the loom. This gave rise to Jamdani, an exquisite form of weaving known for its intricate inlaid motifs and vibrant patterns. Jamdani weavers meticulously interlace fine warp threads with denser threads by hand, creating mesmerizing designs. From all-over florals to diagonal stripes and intricate networks, the motifs in Jamdani reflect a rich artistic heritage. Originally woven on muslin, the finest cloth ever made by human hands, Jamdani has a lineage connected to India’s lost ethereal muslin fabrics. Despite the challenges posed by the East India Company’s destruction of the textile industry, Jamdani has endured. The craft has evolved, incorporating new techniques and expanding its palette to include silk, silver, gold, and various other threads. Today, Jamdani artisans continue to create fascinating iterations, employing their meticulous handweaving skills on diverse materials while preserving the traditional essence of this exceptional art form. In a celebration of regal opulence, these royal weaves weave together a tapestry of exquisite craftsmanship, elegance, and heritage. From the patronage of emperors and maharajas to the skilled hands of artisans, these textiles have adorned the noblest families, embodying luxury, grace, and an enduring link to India’s cultural legacy. Each thread in these masterpieces tells a tale of royal splendor, transcending time and leaving an indelible imprint on the fabric of Indian history.

Maharani Radhika Raje Gaekwad: India’s most progressive Maharani

December 5, 2023, 1:59 am

She is called the most beautiful Maharani of this era. People often compare her to the iconic beauty, Maharani Gayatri Devi of Jaipur. She is toasted even by Instagram accounts known for their caustic critiques and she often gets included in juries and panels of relevance. Radhika Raje Gaekwad, the Maharani of Baroda, is indeed emerging as the face of Princely India in modern times. Not just for her looks but also for the grit with which she adopts issues and campaigns that she feels strongly about. I met her first, nearly 20 years ago when she was a reporter at Indian Express. Working with firebrand editors like Kaveri Bamzai and maverick photographers like Mustafa Qureshi. Quietly reporting and writing on the arts, fashion and culture of New Delhi, she not once gave away the fact that she was actually a blue-blooded Princess. Or that wonky, her per name, stood for Wankaner, a state her ancestors once ruled. Radhika the reporter was simply the daughter of a very committed bureaucrat, M.K. Ranjit Sinh who was recognised for fiercely protecting the Indian jungles and the animals that reside within them. She spoke vociferously for animals, was outspoken about a woman’s right to self-sustenance and also in her own, youthful way, fashionable and trendy. She often spoke of the life she led in Madhya Pradesh where her father served as an Indian Foreign Service official. As Forests and Tourism Secretary to Madhya Pradesh, he was responsible for the creation of 14 national parks and 11 wildlife sanctuaries. Later, he drafted the key Wild Life (Protection) Act of 1972, and served as India’s first Director of Wildlife Preservation. He is perhaps best known for his work on Project Tiger, but he also played a crucial role in bringing back from the brink of extinction, the endangered central and eastern populations of the Barasingha or swamp deer. The state of Wankaner was an eleven-gun salute princely states of India of Kathiawar during the period of the British Raj. Mostly mountainous it is known for its stunning Ranjit Vilas Palace built in 1907 which was the home of her grandparents whom she visited every summer. Her mother Kalpana Raje meanwhile is the most endearing of royal ladies who, hailing from Sailana, a princely state in Ratlam, has a zest for life few can emulate. Married to Maharaja Samarjit Sinh Gaekwad, Radhika literally came into her own playing to perfection her inherited role as custodian of the culture rich state of Baroda. Her in-laws, a visionary couple (Maharaja Ranjit Sinh Gaekwad was a musician, artist and sculptor and his wife Shubhangini Raje, a textile conservationist who revived the Chanderi weaves, the Baroda state was known for) lovingly groomed her for the role ahead. Today, it would not be wrong to compare Radhika to the visionary Maharani Chimnabai II who hailed from Devas and worked neck to neck with her husband for the welfare of women in Baroda. She co- authored a book with S M Mitra titled The Position of Women in Indian life. She was chosen as the first president of the All India Women’s Conference in Pune. She fought against purdah, stoop up for skilling and educating women which eventually led to the founding of Maharani Chimnabai Stree Udyogalaya and Maharani Chimnbai Mahila Pathshala. Radhika well fits those shoes taking visionary, at times bold steps toward empowering her women. Taking over the reins of the Udyogalaya, she runs vocational courses in tailoring and beautician. She launched a project Nari Ki Savari, training women to drive taxis that can eventually drive women home to safety. During Covid she saw, first hand, the plight of the LGBTQA and took it upon herself to help the eunuch community regain the respect conferred on them 120 years ago by Maharaja Sayaji Rao. Radhika is now all set to train a group of eunuchs to set up the first ever café in Baroda that will be totally run by them and will serve staple fare of khaman dhokla, bhel, kachori etc. For the women in the Udyogalaya she raises funds by hosting craft fares like Urja where her own discerning eye for design helps her curate quaint and endearing stories of India handmade. An avid garba lover, she found another way to keep her NGO going by launching PalacGarba that is held each year in the sprawling lawns of the palace and is emerging as the most ‘with it’ garba pandal for Vadodraites. With Asif Shaikh she has worked hard to reinstate the world’s interest in the Baroda Shalu that was woven in Varanasi under the patronage of her ancestors While the world might get caught up in her gorgeous beauty and impeccable taste in textiles, the real Radhika is a quiet go getter, feisty, feminine and geared up to be the change she wants in the world. It won’t be wrong to christen her a replica of Maharani Chimnabai II.

Maharajas & their Exquisite Jewels

December 5, 2023, 1:59 am

Indian Royalty reeks of affluent adornments and shimmering stones. While the traditional indian culture dictates wearing jewelry a norm, kings and queens gave a new meaning to the usage of precious ornaments.Talking about the Maharajas who not only embraced and promoted their traditional customs, culture and heritage but also showcased their refined sense of style through exquisite attire and posh jewelry. Their love for jewelry was world famous, which gave way to it becoming a symbol of royalty and served as a visual representation of the Maharajas’ status and authority. The more elaborate and intricate the jewelry, the higher their rank and influence. Besides the show of power, Maharajas adorned themselves and their wives with exquisite jewelry to exhibit their immense wealth reflecting their prosperity and ability to support a lavish lifestyle. Also, jewelry was also believed to possess protective qualities. Adorning themselves and their wives with precious gemstones and amulets and considering them as safeguards against evil spirits and misfortune was common amongst Indian Maharajas and their households. Following would be famous jewelry of Indian Maharajas narrating tales of the historic legacy. The Emerald Necklace of the Maharaja of Nawanagar The Maharaja of Nawangar was well-known for his luxurious jewelry collection, which included remarkable pieces like the 500-carat Nawanagar necklace, recreated for the Ocean’s movie, and the unique lemon yellow “tiger’s eye” diamond. Among these treasures, one particular piece offers a glimpse into India’s rich heritage. Designed by Jacques Cartier in the famous art-deco style, it features 17 rectangular Colombian Emeralds, weighing a total of 277 carats. The centerpiece of this exquisite jewelry is a 70-carat emerald, rumored to have once belonged to a former Sultan of Turkey. Diamond sarpech – Maharaja Duleep Sing of Lahore Maharaja Duleep Singh of Lahore, the last ruler of the Sikh empire wore a diamond sarpech on his turban. A successor to Maharaja Ranjit Singh, he carried forward the legacy of splendor associated with his royal heritage. The diamond sarpech being specially crafted for turbans is adorned with diamonds and features three majestic plumes. Adding to its allure, the sarpech consists of a center piece, an exquisite emerald. Reserved exclusively for turbans of royalty, the distinctive ornament showcases extravagance and creates a display of opulence. The ‘Indore Sapphire’ Taveez Bead Pendant Necklace Indore Sapphire’ Taveez Bead Pendant Necklace is mounted by the prestigious house of Cartier. It features an oval-shaped sapphire taveez bead weighing an impressive 23.20 carats, which dates back to the 18th century. Adding to its allure, the bead is accompanied by an 18k white gold finelink chain measuring 24 1/8 inches. The chain itself bears the signature of MT Cartier and is a testament to its craftsmanship, as well as the grandeur and elegance associated with the Indian royalty. Boasting of an illustrious provenance, It once belonged to Maharaja Yeshwant Rao Holkar II of Indore, a prominent figure in Indian royalty. It also has been showcased at prestigious venues all over the world such as the Victoria and Albert Museum in London, the Miho Museum in Koka, the Grand Palais in Paris, the Doge’s Palace in Venice, the Palace Museum in Beijing, and the de Young Legion of Honor in San Francisco. Diamond dastar of Maharaja Shrimant Sir Ranjit Singhji Sahib Bahadur of Ratlam Besides the renowned Nizams and Gaekwars, the rulers of princely states like Ratlam, Benares, and Kapurthala also displayed a fondness for exquisite jewelry. In his renowned portrait of Maharaja Shrimant Sir Ranjit Singhji Sahib Bahadur of Ratlam, his attire showcases a remarkable display of opulence. Adorning his turban, or dastar, is a mesh of intricate sarpattis crafted from diamonds, pearls, and other precious gemstones. Furthermore, he wears a kundan haar adorned with diamonds, pearls, and gemstones, along with a pearl choker and earrings. Even the Maharaja’s angarkha, or garment, is embellished with a decorative pattern of sequins and gold thread. Kundan haar of Maharaja Prabhu Narayan Singh of Banaras Maharaja Prabhu Narayan Singh of Benares used to take his royal jewels out for the occasional airing. In this photograph, the Maharaja is seen wearing a staggering Kundan diamond haar made with some other precious gemstones. He is seen wearing the typical sarpech with an attached feather plume. He is also wearing many other intricate articles of jewellery that include peal and polki diamond shoulder pads, bazubandhs, a bejewelled sword, a bejewelled belt, bracelets as well as rings. All of these are seen on a ceremonial court outfit along with the Star of India brooch. The Tiger’s Eye Turban Ornament In 1937, Maharaja Digvijaysinhji of Nawanagar requested jeweler Cartier to create a turban ornament using a rare and stunning diamond known as the ‘Tiger Eye’. The diamond, weighing 61.50 carats and boasting a whiskey-colored hue, was surrounded by baguette-cut diamonds in a traditional Indian jewelry design. The Tiger Eye diamond, originally discovered in the Orange River in South Africa, was purchased by the Maharajah from Cartier and remains in its original platinum-and-diamond setting. The versatile design of the turban ornament allows it to be transformed into a clip brooch by removing a frond of diamonds, and the central setting can be unscrewed and set into other pieces of jewelry. Additionally, the setting can be un-clipped, freeing the diamond completely. The name ‘The Eye of the Tiger’ is inspired by the majestic nature of the tiger itself, symbolizing power and commanding attention. The diamond’s impressive golden coloring and silky luster evoke the image of a wild Bengal tiger in the jungle. According to ancient Chinese legends, Tigers Eye is believed to possess special powers and healing qualities, benefiting its wearers physically, mentally, and emotionally. In addition to their opulence and aesthetic appeal,jewelry was also seen as a diplomatic tool. Maharajas would gift exquisite pieces to visiting dignitaries and foreign rulers, solidifying alliances and fostering diplomatic relationships. These gestures showcased the Maharajas’ wealth, generosity, and their ability to extend their influence beyond their own kingdoms. Furthermore, jewelry held deep religious significance for the Maharajas. They adorned themselves with sacred ornaments during religious ceremonies and festivals, symbolizing their devotion and alignment with specific deities or spiritual beliefs. This display of religious jewelry further emphasized the Maharajas’ connection to their cultural heritage and reinforced their role as custodians of tradition. These treasures not only adorned the physical appearances of the Maharajas but also represented their influential positions within society and their ability to forge connections both within and beyond their realms. As symbols of prestige and power, the jewelry of Indian Maharajas remains an enduring testament to their grandeur and legacy.

Maharajas & their Exquisite Jewels

December 5, 2023, 1:59 am

Indian Royalty reeks of affluent adornments and shimmering stones. While the traditional indian culture dictates wearing jewelry a norm, kings and queens gave a new meaning to the usage of precious ornaments.Talking about the Maharajas who not only embraced and promoted their traditional customs, culture and heritage but also showcased their refined sense of style through exquisite attire and posh jewelry. Their love for jewelry was world famous, which gave way to it becoming a symbol of royalty and served as a visual representation of the Maharajas’ status and authority. The more elaborate and intricate the jewelry, the higher their rank and influence. Besides the show of power, Maharajas adorned themselves and their wives with exquisite jewelry to exhibit their immense wealth reflecting their prosperity and ability to support a lavish lifestyle. Also, jewelry was also believed to possess protective qualities. Adorning themselves and their wives with precious gemstones and amulets and considering them as safeguards against evil spirits and misfortune was common amongst Indian Maharajas and their households. Following would be famous jewelry of Indian Maharajas narrating tales of the historic legacy. The Emerald Necklace of the Maharaja of Nawanagar The Maharaja of Nawangar was well-known for his luxurious jewelry collection, which included remarkable pieces like the 500-carat Nawanagar necklace, recreated for the Ocean’s movie, and the unique lemon yellow “tiger’s eye” diamond. Among these treasures, one particular piece offers a glimpse into India’s rich heritage. Designed by Jacques Cartier in the famous art-deco style, it features 17 rectangular Colombian Emeralds, weighing a total of 277 carats. The centerpiece of this exquisite jewelry is a 70-carat emerald, rumored to have once belonged to a former Sultan of Turkey. Diamond sarpech – Maharaja Duleep Sing of Lahore Maharaja Duleep Singh of Lahore, the last ruler of the Sikh empire wore a diamond sarpech on his turban. A successor to Maharaja Ranjit Singh, he carried forward the legacy of splendor associated with his royal heritage. The diamond sarpech being specially crafted for turbans is adorned with diamonds and features three majestic plumes. Adding to its allure, the sarpech consists of a center piece, an exquisite emerald. Reserved exclusively for turbans of royalty, the distinctive ornament showcases extravagance and creates a display of opulence. The ‘Indore Sapphire’ Taveez Bead Pendant Necklace Indore Sapphire’ Taveez Bead Pendant Necklace is mounted by the prestigious house of Cartier. It features an oval-shaped sapphire taveez bead weighing an impressive 23.20 carats, which dates back to the 18th century. Adding to its allure, the bead is accompanied by an 18k white gold finelink chain measuring 24 1/8 inches. The chain itself bears the signature of MT Cartier and is a testament to its craftsmanship, as well as the grandeur and elegance associated with the Indian royalty. Boasting of an illustrious provenance, It once belonged to Maharaja Yeshwant Rao Holkar II of Indore, a prominent figure in Indian royalty. It also has been showcased at prestigious venues all over the world such as the Victoria and Albert Museum in London, the Miho Museum in Koka, the Grand Palais in Paris, the Doge’s Palace in Venice, the Palace Museum in Beijing, and the de Young Legion of Honor in San Francisco. Diamond dastar of Maharaja Shrimant Sir Ranjit Singhji Sahib Bahadur of Ratlam Besides the renowned Nizams and Gaekwars, the rulers of princely states like Ratlam, Benares, and Kapurthala also displayed a fondness for exquisite jewelry. In his renowned portrait of Maharaja Shrimant Sir Ranjit Singhji Sahib Bahadur of Ratlam, his attire showcases a remarkable display of opulence. Adorning his turban, or dastar, is a mesh of intricate sarpattis crafted from diamonds, pearls, and other precious gemstones. Furthermore, he wears a kundan haar adorned with diamonds, pearls, and gemstones, along with a pearl choker and earrings. Even the Maharaja’s angarkha, or garment, is embellished with a decorative pattern of sequins and gold thread. Kundan haar of Maharaja Prabhu Narayan Singh of Banaras Maharaja Prabhu Narayan Singh of Benares used to take his royal jewels out for the occasional airing. In this photograph, the Maharaja is seen wearing a staggering Kundan diamond haar made with some other precious gemstones. He is seen wearing the typical sarpech with an attached feather plume. He is also wearing many other intricate articles of jewellery that include peal and polki diamond shoulder pads, bazubandhs, a bejewelled sword, a bejewelled belt, bracelets as well as rings. All of these are seen on a ceremonial court outfit along with the Star of India brooch. The Tiger’s Eye Turban Ornament In 1937, Maharaja Digvijaysinhji of Nawanagar requested jeweler Cartier to create a turban ornament using a rare and stunning diamond known as the ‘Tiger Eye’. The diamond, weighing 61.50 carats and boasting a whiskey-colored hue, was surrounded by baguette-cut diamonds in a traditional Indian jewelry design. The Tiger Eye diamond, originally discovered in the Orange River in South Africa, was purchased by the Maharajah from Cartier and remains in its original platinum-and-diamond setting. The versatile design of the turban ornament allows it to be transformed into a clip brooch by removing a frond of diamonds, and the central setting can be unscrewed and set into other pieces of jewelry. Additionally, the setting can be un-clipped, freeing the diamond completely. The name ‘The Eye of the Tiger’ is inspired by the majestic nature of the tiger itself, symbolizing power and commanding attention. The diamond’s impressive golden coloring and silky luster evoke the image of a wild Bengal tiger in the jungle. According to ancient Chinese legends, Tigers Eye is believed to possess special powers and healing qualities, benefiting its wearers physically, mentally, and emotionally. In addition to their opulence and aesthetic appeal,jewelry was also seen as a diplomatic tool. Maharajas would gift exquisite pieces to visiting dignitaries and foreign rulers, solidifying alliances and fostering diplomatic relationships. These gestures showcased the Maharajas’ wealth, generosity, and their ability to extend their influence beyond their own kingdoms. Furthermore, jewelry held deep religious significance for the Maharajas. They adorned themselves with sacred ornaments during religious ceremonies and festivals, symbolizing their devotion and alignment with specific deities or spiritual beliefs. This display of religious jewelry further emphasized the Maharajas’ connection to their cultural heritage and reinforced their role as custodians of tradition. These treasures not only adorned the physical appearances of the Maharajas but also represented their influential positions within society and their ability to forge connections both within and beyond their realms. As symbols of prestige and power, the jewelry of Indian Maharajas remains an enduring testament to their grandeur and legacy.

A Nawab and Chef: a keeper of history

December 5, 2023, 1:59 am

Fondly called Naved bhai by all, the handsome Nawab of Rampur, Kazim Ali Khan wears many hats. He is a politician who also served as the Minister of Tourism in Uttar Pradesh Government. He loves fashion, not just creating fables through fashion shoots of Laila Majnu and Sohni Mahiwal, but also recreating the beauty of the begums of yore by stylish both his beautiful daughter in laws at their weddings. Indeed, the world witnessed the spectacular way he restored the farshis worn by his beautiful mother Begum Noor Bano and his grandmother, Rafat Zamani Begum for both his beautiful daughter in laws to wear at their Nikah. The feisty begums and nawabzadis of Rampur of the past were known for their spectacular jewels and costumes. Especially his grandmother Rafat Zamani Begum, who is often referred as the most beautiful and beloved wife of his grandfather Sir Raza Ali Khan Bahadurwho in many ways was seen as the architect of the modern state that always was seen as the cultural cauldron of Princely India. Music maestros like Begum Akhtar and Mirza Ghalib residing there for long tenures, the entire entourage of chefs from Wajid Ali Shah’s Avadh working in his kitchens once the Nawab was exiled in Kolkatta. To me he is not just a strong ally in my quest to keep royal cultures alive, he is also a maestro in recreating Rampur of the past. Especially the cuisine that is often called the source of all genre of Mughal and other royal courts. Rampur rose in prominence as the ‘university’ for most of the khansamas from the Mughal and other royal courts. This perhaps explains why Rampuri cuisine seems to be influenced by so many cuisines, importantly the Mughlai, Afghani, Lucknowi, Kashmiri and Awadhi cuisines. With so many specialty chefs at their disposal, the Nawabs finally began developing their own cuisine, which till the time was predominantly Pasthun style. In other words, meat heavy made with less spice and mostly grilled. Explains Kazim Ali, “Rampuri cuisine unlike the other muslim cuisines is not very high on kewda and other essence. We focus on creating innovative cooking techniques using, for instance,The usage of bottle gourd and papaya to tenderize meat for kebabs and curries first began in Rampuri kitchen, and also the use of varq. Our chefs used is cleverly instead of the parda made of maida!” The nawab, when not showcasing the famed Raza library and the mahal to guests is busy working in his state of the art kitchen in his palace supervising his chefs as they revive some of the signature dishes of Rampur. The Dal Khichada, made of rice and lentil kernels carved out of almonds and pistachios, the gulab ki kheer where rice is sprinkled with fresh rose petals, mirchi ka halwa that strangely is nything but sharp in taste. Why even the meat ka halwa that no one can guess is made from red meat. There are many exclusive takes to Rampuri food. TheRampuri Chaat Masala, for instance, uses more ginger compared to the Delhi Chaat Masala; the Rampuri Korma—unlike regular ones with a white gravy rich in cashew nuts—is identified by its red gravy, which is not due to red chillies but tomatoes.In fact, the royal kitchens were famous for using ingredients like lotus seeds, banana flower, khus ki jhad (roots) and sandalwood to give their dishes a unique flavour.

Art on Textiles: A vintage tale

December 5, 2023, 1:59 am

Royal design and memorabilia motifs are inimitably wound together. One influencing the other in the most endearing way. Especially when it comes to designs that emerge from palace ateliers and studios run by designers with noble lineage. And nothing inspires the Indian nobility more than our rich flora and fauna. The slender demeanour of a Saluki, a species of dogs loved by Nawabs painted on a fine fabric. The poetic vision of a Godavan, the state bird of Rajasthan in flight, caught in a scarf. The majestic Bengal tiger immersed in his habitat, printed on a crisp cotton shirt.…all this and more is what inspires this young couple of noble lineage who also have a strong connect to the hills of Uttarakhand. Digvijay Singh and Nidhi Sah, both hailing from the Baroda School of Art and NID, Ahmadabad work around the rich iconography of Princely India. Born and schooled in Nainital, this husband-wife duo hail from leading hotelier families of Nainital. Whilst Nidhi’s family run Alka Hotel which is one of the landmarks of Nainital Mall, Digvijay belongs to the Awagarh noble family that owns one of the hill station’s most beautiful property: Palace Belvedere. A home for the family, this majestic colonial building existed as the summer guesthouse for the former rulers of Awagarh. It was constructed in the year 1897 by Raja Balwant Singh of Awagarh. Offering an up-close and personal insight into the royal lifestyle of the erstwhile rulers, it now exists as a popular heritage hotel of India filled with century old relics, frescoes and mementos of the royal family. Whilst Digvijay and Nidhi reside in Ahmadabad and also design for their label BBG Royals in that city, they return each summer to their home, capturing the beauty of the lake city through a brand new collection as well as a signature shoot. This summer they once again returned to create a digital series for men inspired by animals and birds of India. Printed on cotton and stitched into a range of summer shirts. Shot on the four descendants of the Awagarh family, Digvijay, his brother Dhruv and two young nephews who were visiting belvedere.

Monarchial Melting Pot: The Diverse Array Of Talents Flourishing In The Royal Realm

December 5, 2023, 1:59 am

Discover the hidden talents of Indian royalties as we delve into the diverse array of skills that flourish within the royal realm. In the world of Indian royalties, there is an air of elegance and grandeur that surrounds them. However, behind the regal facade, lies a realm of hidden talents waiting to be discovered. These princesses not only fulfil their royal duties but also excel in various fields, showcasing their passion and skills. In this article, we will explore the talents of five Indian royalties who have proven that there is more to them than their royal titles. Polo Powerhouse : Mriganka Kumari Singh Polo, a game inseparable from eminence and renown, finds a devoted disciple in Mriganka Kumari Singh. Hailing from the distinguished regal group of Jammu and Kashmir, her liking for polo runs profound, mixing an enthusiasm for the game with surprising accomplishments. She is a total outdoor person who enjoys riding horses, having short hair, adventures, and most definitely riding a bike. She is a show-stopper for many prominent designers because she always lives her life on the edge. One of her favourite pastimes is photography. Mriganka Kumari Singh was captivated by polo’s exhilaration and grace from a young age. Acquainted with the game in the midst of the lofty atmosphere of Jaipur, she felt a moment association with the roaring hooves, the adrenaline rush, and the essential idea of the game. As a refined polo player, she has addressed her nation as well as earned deference and regard from her companions and aficionados all over the planet. She has made significant contributions to the growth and promotion of polo, in addition to her own accomplishments. Additionally, Mriganka was a member of the Indian team that competed in the Special Women’s Polo Tournament. Perceiving the significance of saving polo’s legacy and social importance, she has been instrumental in coordinating and supporting different polo occasions, competitions, and drives. From Steps to Stories : Mohena Kumari Singh Dance is a language that rises above hindrances, and for Mohena Kumari Singh, it is a significant articulation of her spirit. Mohena, a member of the illustrious royal family of Rewa, Madhya Pradesh in India, has had a lifelong passion for dance. As she dove further into different dance shapes, her enthusiasm developed dramatically, energising her longing to excel and impart her inventiveness to the world. Mohena Kumari Singh’s dance collection traverses a great many styles, from traditional Indian structures, for example, Kathak to contemporary and combination dance. Her flexibility is a demonstration of her commitment and readiness to investigate various methods and kinds. Mohena has appeared in the third season of the Indian dance reality show Dance India Dance, and despite the fact that she is a princess, she had to wait in long lines like the other contestants. She also appeared in numerous other television shows, including Silsila Pyaar Ka, Yeh Rishta Kya Kehlata Hai, and Dil Dosti Dance. She has assumed the role of a mentor, giving workshops and masterclasses to encourage and direct students who want to dance. Her commitment to move training originates from a faith in the extraordinary force of dance and its capacity to impart certainty, discipline, and imagination in people. Aiming for Glory, Hitting the Bullseye : Apurvi Singh Chandela Apurvi Chandela has established herself as a prominent presence in the precision sports world. Despite being a member of the renowned royal Chandela family, this did not prevent her from achieving such heights. Her perseverance and proficiency in shooting have enabled her to carve out a remarkable career in the competitive shooting field. Her hard work and dedication to training enabled her to regularly hit the target, thus catapulting her to the top of the shooting hierarchy. Her success on the international scene is a testimony to her remarkable talents, having represented India in a variety of prestigious competitions, such as the Olympics, the Commonwealth Games, the World Cups, and the Asian Games. Her remarkable feats, including the setting of a world record in the event of 2019, have gained her immense popularity and recognition among India’s shooters, making her a role model for aspiring athletes, especially young girls. She is also Tejasvi Chandela’s younger sister, the owner of the renowned Jaipur based confectionery “Dzurt.” A Confluence of Hospitality Excellence and Artistic Passion : Padmaja Kumari Parmar Padmaja Kumari Parmar is the daughter of the House of Mewar, an earlier royal family from Udaipur, Rajasthan. She is a highly esteemed figure in the hospitality industry, where service and artistry come together seamlessly. She has a deep appreciation for both the luxury hospitality industry and the arts, combining her experience as a hospitality executive with her passion for art. Her career has seen her take on key leadership roles in the hospitality sector, with a strategic outlook and a drive for innovation. Padmaja also serves on the Bvlgari Hotel, London, Advisory Board at the moment. She has been invited to speak at numerous international events, including the Fortune Most Powerful Women Summit and Dell Women’s Entrepreneur Network, due to her unique experiences. She has successfully implemented various initiatives, providing a new perspective to the sector. Friends of Mewar is a non-profit organization founded by her with the goals of preserving cultural heritage, providing preventative healthcare, and encouraging women’s education and empowerment. In addition to her hospitality executive role, she has a passion for art. She has been involved in curating exhibitions, hosting cultural events, working with artists to promote their work and directing an exhibit at the National Museum of Asian Art of the Smithsonian Institution. Her expertise in art and her capacity to connect artists to audiences have earned her a place of trust and influence in the art world. From Thrones to Scones : Tejasvi Chandela In the realm of baking, a combination of creativity and meticulousness is the hallmark of the world’s most talented baker. Tejasvi Chandela is a shining star in this field, whose enthusiasm for baking has enabled her to carve out a unique career in the culinary art form. She has a deep understanding of fine craftsmanship and aesthetics, as well as a passion for culinary delights. Brought up within the esteemed confines of a noble lineage in Jaipur, Rajasthan Tejasvi’s royal upbringing paved the way for her culinary endeavours, imbibing a hint of royal elegance in her creations. With a deep sense of aesthetics, she presents her baked items as works of art, not just as delicious treats, but as visual delights. Her enthusiasm for baking transcends personal pleasure, and she uses her skills to bring joy and satisfaction to those who sample her creations. ‘Dzurt Patisserie’, ‘All Things Chocolates’, and ‘Cut Chocolate Cake’ are among her current businesses. Through private events, partnerships with well-known establishments, and her own bakeries, she shares her love of baking with the world. Tejasvi is also the older sister of Apurvi Chandela, the former world champion in women’s 10 meter air rifle. In conclusion, Indian royalties are not just figures of glamour and tradition, but they also possess hidden talents that are as diverse as the realm they inhabit. From sports enthusiasts to art aficionados and hospitality executives, these princesses have proven that their skills and passions go beyond their royal titles. Through their talents, they inspire others to pursue their dreams and showcase their abilities, regardless of societal expectations. So, the next time you encounter an Indian princess, remember that there may be a lot more to her than meets the eye.

A LITERARY EVENT AT NAINITAL

December 5, 2023, 1:59 am

I have known Rani Reena Kumari and her lovely husband Yuvraj Pratap Singh Jhala of Thikana Labhowa for a long time. Besides being successful entrepreneurs, they are also behind the restoration of the Sahaspur Belari House in the heart of Nainital. Beautifully converted into what is now known as Welcomheritage Ashdale hotel, it is a hospitality offering that celebrates all thing Princely India. A fountain welcomes you as you step out of your car. A reception designed like the Maharaja’s living room, it is filled with vintage art, art objects and furniture. A spacious garden flanks a heritage home that personifies regal history. From polo memorabilia, to an old grand master piano; from chintz prints on walls and upholstery to a museum quality gallery of royal portraits, it is a visual treat for design addicts like me. Reena, married in Gujarat, is the princess Sahaspur Belari, a Zamindari state off Moradabad. Sahaspur was the largest Zamindari in Moradabad and Badaun districts of Uttar Pradesh. Prithvi Singh, an ancestor fought along with the army of the Lodi kings when they were at Sambhal, Moradabad district, and after their defeat in 1526 at Panipat, by the Moghul Emperor, Babur, they settled peacefully in Punjab. They however kept in touch with Badaun and Katehr (old name of Moradabad) came back at the end of Aurangzeb’s reign to receive the title of ‘Rai’ and were made ‘Chakladars’ of Bijnor District in 1713. Post partition the family has actively been part of politics, the present Raja Chandra Vijay Singh and his sister Rani Reena Kumari both having held positions in the UP and Central government. Their gorgeous mother, Rajkumari Indra Mohini was a vital member of the Congress government in Uttar Pradesh whilst both of then were Member of the Legislative Assembly of Uttar Pradesh and Member of Parliament. Nainital as we know is home to many blue-blooded families including Balrampur, Tehri, Awagarh, Baria and Amitabh Baghel (A Baghel Rajput from Lucknow who is now settled in Nainital). Hence, when I asked her to create a platform for talks on books, starting with the first in a series with actor and author Vani Tripathi Tikoo, she instantly suggested we bring Amitabh Baghel who is the brain behind Koshala Literature Festival to host the talks. A lover of the art and an avid reader, Reena has stacked up her library at the hotel and was thrilled to be part of an anecdotal session around the book ‘Why Can’t Elephants be Red’ penned by Vani that questions the world of creativity as seen from the eyes of a 4-year-old protagonist Aku. Focused on the need for not just meaningful content for children, the afternoon session also threw light on the need for Indian literature enthusiasts to encourage reading and free thinking amongst kids. “Why can’t children of the hills be regaled with local stories of Gods, demons and witcheslike my generation of children growing up in Almora and Nainital were? Why can’t we cherish the innocence of indigenous fairy tales of the Panchatantra, the Jataka tales or even the endearing story of the Golu Dev.”A part of the panel, I thoroughly enjoyed the talk that spoke of the need for conserving our literary history in a place that is living history by itself. Historic and stunningly beautiful.

Headgears of yore: The enduring legacy of paghdis & Marathi phetas

December 5, 2023, 1:59 am

Turbans hold a special place as an integral element in the great Indian treasure trove. Varying in style and design across states and traditions, they are seen as symbols of pride, also serving the purpose of keeping the person wearing the turban protected from the scorching sun. Given that there are over 500 types of turbans worn by Indian men and women, it would be correct to state that they also serve as a distinct symbol of regional identity. Meet Vikramsinh Mansinh Jadeja, the turban man from Gujarat who holds the distinction of knowing how to tie over a hundred styles of turbans and is invited by various royal families to tie the safas and turbans at the scions’ nuptials. An international artist and expert in Royal Rajputana and Indian traditional ‘Pagri and Saafa,’ he passionately promotes and preserves the art of turban draping for which he has also been recognized and awarded. He draws inspiration from archival photographs and immerses himself in travels to understand various royal cultural events and incorporates these influences into his innovative approach to turban making. His dedication to preserving the art of turban draping has earned him recognition in the India Book of Records. Vikram shares,” Throughout history, India has been home to numerous brave kings and warriors who wore their turban with great pride. Some noteworthy examples include Chhatrapati Shivaji Maharaj, the founder of the Maratha Empire, Maharana Pratap Singh of Mewar, and Maharaja Ranjit Singh of the Sikh Empire are among the many courageous rulers who wore their turbans with honor, representing their bravery and valor. My expertise lies in tying the dome-shaped pagdi, a Marathi Pheta worn by Chhatrapati, influenced by the shape of the juda hairdo worn beneath it. Though I can tie many other shaped pagdhis and safas too. “ Left as a legacy by the royals of Maharashtra since prehistoric times, the headgear traces its origin back to the Peshwa era, a time of Marathi warriors like Chhatrapati and Rani Lakshmibai, as well as distinguished personalities like Sant Tukaram. Historical accounts suggest that the Marathi Pheta originated in the town of Kolhapur, which served as the historical capital of Maharashtra. Characterized by its distinct shape and elaborate draping technique, it holds a special place in Maharashtra’s cultural heritage, worn especially during religious functions and wedding occasions. Primarily worn by elder men in families as a symbol of dignity back then, it held a significant cultural and traditional value, especially among Maharashtrian men. Over time, the traditional costume transitioned into a fashion trend, becoming a statement piece for the younger generations. The obligation associated with wearing the Pheta gradually gave way to vogue preferences, making it more fashionable rather than solely ritualistic. In today’s times, the Pheta is typically worn on special occasions, deviating from the traditional Marathi practice where it was an integral part of daily attire. “Typically, it measures between 3.5 to 6 meters in length and has a width of approximately 1 meter. It is typically wrapped around the head in 6 to 7 rounds, with a portion of the turban left hanging loose like a tail, known as the Shemala. While some Pheta cloths are plain and single-colored, others feature lining and double colors. The choice of colors varies depending on the occasion, with saffron symbolizing valor and white representing peace. Cotton is the most commonly used fabric for making the Pheta, often adorned with gold trimmings along the border to enhance its regal appearance,” informs Vikram. Apart from the classic white and saffron-embellished Pheta, there are two prominent variations worth mentioning. The first is the renowned Kolhapuri Pheta, available in a wide range of vibrant colors and adorned with a Bandhani design. The second variety is the Puneri Pheta, characterized by its checkered patterns and distinctive gold border. It is also considered the most auspicious one that is handed over during the nuptials of a wedding. Gradually, this age-old tradition of Marathi Pheta became an auspicious ritual for people, be it any culture. What also makes this Marathi headgear unique are the various styles in which Pheta can be worn. The styles vary based on location, renowned personalities, and specific occasions. When associated with distinguished individuals, they come with names such as the Shahi Pheta, Mahatma Gandhi Pheta, Tukaram Maharaj Pheta, and various other popular variations. When it comes to different places, notable styles include the Kolhapuri style, Mawali style, Puneri style, Lahiri style, and more. Several Indian celebrities and political leaders have worn the Marathi Petha in different forms which has given this headdress a global appeal and has made an impact on several people worldwide. Several fashion designers have imitated the particular style and have used it to give their collections a touch of Indian ethnicity. In Marathi cinema, numerous films such as Netaji Palkar, Ayodhyecha Raja, Shree Pundalik, anmore feature protagonists donning the headgear in significant scenes. Well-known Bollywood actors like Abhishek Bachchan, Ritesh Deshmukh, and even Abhishekh Bachchan’s father, Amitabh Bachchan, wore it on their wedding days, further adding to its prominence. Just like the myriad of turban styles across India, the Marathi pheta showcases the unique regional identity and adds to the rich tapestry of Indian culture.

Royal Gazette: When two hearts met

December 5, 2023, 1:59 am

It was the season of love and celebration as four blue-blooded young people got engaged to each other, and the Avadh talukdaaris of Pratapgarh and Khajurgaon celebrated the engagement of their children. Princess Mriganka Kumari of Pratapgarh got engaged to Tika Raja Kamakhya Pratap Singh Judeo of Alipura at the latter’s residence. A honey farmer who helms a self-help group of women farmers retailing the divinest of honeys under her brand, Pratapgarh Collective, Mriganka looked happy when next to her husband-to-be. Her label brings a variety of artisanal honey, bee-to-bottle, and farm-to-table products. Linking the farming of honey to women’s empowerment, she works tirelessly both through the family-run NGO and herself to empower the rural denizens who have resided in Pratapgarh for generations. Pratapgarh Collective’s raw flower honey comes from a single source of nectar visited by bees. Meanwhile, Kamakhya Pratap Singh is active in Madhya Pradesh politics and works under his father, Rao Bahadur Raja Manvendra Singh Judeo, 11th and present Raja Saheb of Alipura, member legislative assembly, Madhya Pradesh. Their Alipura Palace is converted into a beautiful boutique heritage property owned by Rani Brijraj Kumari, daughter of the Rao Saheb of Kundla. Princess Katyayani Sinh of Sanand gets engaged to Kunwar Shivraj Singh of Khajurgaon, an entrepreneur and scion of one of the leading Talukdaaris of Oudh. An entrepreneur, he works closely with his parents, Raja Amresh Kumar Singh and Rani Abha Singh, to host experiential evenings at the Khajoorgaon House in the heart of Lucknow. One of the oldest estates of the former Kingdom of Awadh, the Khajoorgaon family is known for their delectable cuisine and their insight into the rich repository of Avadh’s sufiana lkalam and kathak. Young and pretty Katyayani, meanwhile, is a lawyer and an artist whose art is unique. Shooting beautiful portraits of the shephards and tribals who dot her state of Sanand, she then embellishes her prints with strips of hand-woven textiles from Gujarat. Almost like a modern version of the decorous Raja Ravi Verma prints. She is the granddaughter of the celebrated musician Jaiwant Singhji Vaghela of Sanand, who was the Guru of Pandit Jasraj. Also known as Sanand Bapu, he was a classical vocalist, benkar, and musicologist belonging to the Mewati gharana. His legacy includes contributions to compositions (performed and recorded famously by Pandit Maniram and Pandit Jasraj).

The most gorgeous jewels owned by the royal families

December 5, 2023, 1:59 am

Jewels are a royal’s timeless friend. The blue-blooded families across the globe possess some of the rarest jewels, pristine not just in price but also in their exquisite finish, design, and setting. It was during the British Raj that many Indian Maharajas took trunks filled with their ancestral diamonds, rubies, and emeralds, commissioning European ateliers to refurbish them in the existing art deco and Victorian styles. Soumya Bhardwaj chronicles six priceless pieces that were made for the Maharaja. The Nizam of Hyderabad’s Jacob Diamond The Jacob Diamond of the Nizam of Hyderabad holds an extraordinary story of grandeur. Named after its first individual owner (Alexander Malcom Jacob), this Golconda diamond, weighing an astonishing 184.75 carats, stands as one of the world’s largest and most mesmerising gems. Reportedly bigger than the Kohinoor in its uncut stage, it was found in the shoes of the sixth Nizam of the Hyderabad state, Mir Mahboob Ali Khan, at the Chowmohalla palace. When handed down to Mir Osman Ali Khan (his son), he famously used it as a paperweight for a long time. It was in 1891 that Jacob bought the gem from a diamond syndicate in Amsterdam and decided to sell it to the Nizam. Initially, after having paid in advance, the latter refused to pay the agreed price. Some reports claim this was due to the pressure created by the British to back out of the deal because Jacob purportedly was a Russian spy, while others claim it was just because the Nizam developed an aversion towards the diamond. However, it was the latter who won the legal battle. It was bought by the government of India in 1995 for an estimated $3 million and presently finds its safe haven within the vaults of the Reserve Bank of India in Mumbai. The Mysore Palace Throne Stepping into the regal realm of Mysore Palace, our gaze is captivated by the resplendent Mysore Palace Throne, also known as Chinnada Simhasana or Ratna Simhasana in Kannada. Forged in gold and adorned with precious gemstones, this grand seat embodies the magnificence of the Wodeyar dynasty. It showcases a captivating throne, exhibited to the public during the Dasara festival. With a rich history, this throne is believed to have been originally owned by the Pandavas and brought from Hastinapura to Penugonda by Kampilaraya. It consists of a main seat, steps, and a golden umbrella adorned with slokas honouring Krishnaraja Wadiyar III. The sides of the throne depict elephants, horses, soldiers, and chariots, while the royal seat, called Koormasana, is luxuriously adorned with stone-studded cloths. The backrest features intricate carvings of birds, lions, and flowers, with the central presence of Goddess Chamundeshwari surrounded by divine figures. Supported by horses, this grand throne is crowned by a royal umbrella, which carries blessings for the Mysore king. Atop the umbrella sits Huma, a celestial swan with an emerald beak, believed to bestow perpetual wearing of the royal crown upon the one upon whom its shadow falls. The Mysore Palace’s throne is not only a stunning display of craftsmanship and artistry but also a remarkable artefact steeped in history and tradition, offering a glimpse into the regal splendour of a bygone era. Its intricately detailed craftsmanship and timeless elegance are an embodiment of the royal heritage that echoes through the hallowed halls. The Baroda Pearl Canopy Suspended in time, this bejewelled masterpiece captures the imagination with its grandeur, a testament to the romantic era of royal indulgence. Part of a five-piece set, this mesmerising creation commissioned by Maharaja Khande Rao Gaekwad consists of approximately 950,000 precious ‘Basra pearls’, emeralds, sapphires, and rubies in elaborate floral arabesques. The set was originally meant as an offering for the Prophet’s Tomb in Medina but stayed in Baroda’s treasury. This 12-metre-diameter carpet showcases exquisite craftsmanship, reflecting the prosperous pearl trade between the Arabian Gulf and India. Influenced by the Mughal style, which combines Persian and Indian traditions, the canopy features intricate swirling vinery and dense floral elements adorned with rubies, emeralds, and sapphires set in gold. This precious canopy is one of two surviving pieces from the original set, along with the “Baroda Pearl Carpet.” It was kept in the state’s treasury before coming into the possession of Sita Devi. Displayed at the Victoria & Albert Museum in 2010, it was later sold at auction for 2.3 million. In a recent auction, it fetched $22 million and is now exhibited at Christie’s Inc. in London. Suspended in time, this bejewelled masterpiece captures the imagination with its grandeur, a testament to the romantic era of royal indulgence. Diamond Sarpech: Maharaja Duleep Singh of Lahore Maharaja Duleep Singh of Lahore, the final ruler of the Sikh empire, can be seen exuding regal elegance while donning a remarkable diamond sarpech. As the successor to Maharaja Ranjit Singh, who established the Sikh Empire in the present-day Punjab region, Maharaja Duleep Singh carried forward the grandeur and splendour associated with his royal heritage. The diamond sarpech, a distinctive ornament designed specifically for turbans, represents the pinnacle of opulence when adorned with diamonds and is reserved exclusively for royal turbans. The sarpech worn by Maharaja Duleep Singh features three majestic plumes crafted entirely from shimmering diamonds, creating a breathtaking display of brilliance and magnificence. Enhancing the allure of this exquisite piece is a dazzling emerald, meticulously positioned at the centre, radiating a captivating aura. This remarkable jewellery choice exemplifies the Maharaja’s penchant for extravagant and awe-inspiring adornments, evident in the captivating photograph capturing his opulent style. The diamond sarpech serves as a testament to the artistic craftsmanship and exquisite taste that permeated the Sikh empire, reflecting a cultural heritage that embraced beauty, luxury, and the glorification of regal attire. Maharaja Duleep Singh’s choice to don such an extraordinary accessory further reinforces the importance placed on symbolising power, wealth, and prestige through the magnificent jewellery of the era. Diamond Dastar of Maharaja Shrimant Sir Ranjit Singhji Sahib Bahadur of Ratlam Besides the renowned Nizams and Gaekwars, the rulers of princely states like Ratlam, Benares, and Kapurthala also displayed a fondness for exquisite jewellery. In his renowned portrait of Maharaja Shrimant Sir Ranjit Singhji Sahib Bahadur of Ratlam, his attire showcases a remarkable display of opulence. Adorning his turban, or dastar, is a mesh of intricate sarpattis crafted from diamonds, pearls, and other precious gemstones. Furthermore, he wears a kundan haar adorned with diamonds, pearls, and gemstones, along with a pearl choker and earrings. Even the Maharaja’s angarkha, or garment, is embellished with a decorative pattern of sequins and gold thread. This portrait exemplifies the Maharaja’s affinity for lavish jewellery and highlights the grandeur associated with the princely states of India. Diamond Crown of the Maharaja of Kapurthala In his renowned portrait, the Maharaja of Kapurthala is adorned in regal splendour, showcasing his affinity for magnificent jewellery. A magnificent diamond crown graces his head, exuding an aura of majesty and authority. Around his neck, he wears a resplendent necklace adorned with 12-string Basra pearls, their lustrous beauty adding a touch of elegance to his attire. Completing his ensemble is a bejewelled diamond belt, further accentuating his status and love for opulent adornments. The Maharaja’s attire is a traditional sherwani embellished with intricate gold brocade embroidery, showcasing the rich craftsmanship of the region. A distinguishing feature is his sash, which adds a touch of distinction and symbolises his esteemed position. Notably, he proudly wears the Star of India brooch, an esteemed honour bestowed upon select Indian rulers by the British Crown, signifying their close association and recognition. The Indian royal heirlooms showcased in this list offer a glimpse into a world steeped in opulence, artistry, and rich cultural heritage. Each artefact holds a story of its own, encapsulating the legacy of royal dynasties that once adorned the land. From breathtaking jewels to intricately crafted carriages, these treasures stand as testament to the unmatched grandeur and refined taste of India’s royal families.

Regal Escapes in the Mountains

December 5, 2023, 1:59 am

Copying the British way of life was second skin to the Princely Indian rulers. They emulated their style of dressing, living, eating, holidaying. Even building summer palaces in accordance to the summer capitals where the British viceroys moved every hot, sweltering Indian summer. Many of these magnificent palaces are now resorts and hotels for Indians to enjoy. India, known for its rich cultural heritage and diverse landscapes, is home to numerous magnificent mountain ranges. Nestled amidst these picturesque peaks are royal retreats that have stood the test of time, preserving the grandeur and opulence of a bygone era. These mountain based getaways offer a unique blend of natural beauty and regal charm, allowing visitors to experience the best of both worlds. Here are five royal Indian getaways located in the mountains that promise an unforgettable vacation. MUSSOoRIE: Kasmanda Palace Kasmanda Palace that belonged to the rich talukdaars of Kasmanda in Oudh, Sitapur was originally built in 1835 by Captain Rennie Tailour of the Bengal Engineers. Taking many shapes it served both as a sanatorium and school under the British rule. Now with the family since 6 generations it is run as a heritage retreat by Rajkumar Dinraj Pratap Singh and his wife Rajkumari Yadunandini Singh, a princess of Jaisalmer. Over the years, it has been carefully restored and transformed into a luxury hotel, preserving its architectural grandeur and cultural heritage. The palace showcases a blend of British colonial and Indian architectural styles, with its elegant facade, ornate interiors, and sprawling gardens, making it a true gem in Mussoorie’s crown. This magnificent heritage property has captivated the hearts of visitors for decades, offering a glimpse into the regal past while providing a luxurious retreat in the lap of nature. MUSSoORIE: Cloud’s End Palace Tucked away at the westernmost point of Mussoorie, Cloud’s End Palace holds a significant place in the town’s history. Built by Major Swetenham, a British officer, in the early 19th century, this enchanting palace was initially a hunting lodge. With time, it evolved into a sprawling estate surrounded by lush greenery and mesmerising views. The palace showcases a fusion of colonial and Indian architectural styles, boasting high ceilings, wooden beams, and beautiful verandas. Today, Cloud’s End Palace serves as a luxurious resort, offering visitors an opportunity to experience the regal charm and tranquility it exudes. SHIMLA: Chail Palace Perched majestically amidst the serene hills of Himachal Pradesh, Chail Palace stands as a testament to regal grandeur and tranquility. Nestled in the charming town of Chail, this magnificent palace offers a unique blend of history, natural beauty, and luxurious hospitality, making it an idyllic retreat for those seeking a royal experience in the lap of nature. Built in 1891, Chail Palace holds the distinction of being one of the most exquisite heritage hotels in India. Originally conceived as a summer retreat for the Maharaja of Patiala, the palace offers a glimpse into the regal past, transporting guests back in time to an era of opulence and elegance. Its architecture reflects a seamless fusion of colonial and Indian styles, with its imposing structure, elegant interiors, and well-manicured gardens. SHIMLA: Jubbal Palace The Palace is the former summer residence of the Raja Rana of Jubbal, a pre-independence kingdom of the Simla Hill States. Placed amid deodar pine forest, Woodville Palace is now run by Raja Uday Singh Jubbal.. A jewel tucked away with a majestic view of the Himalayas in the background , the palace was first owned by William Rose Mansfield, Commander-in-chief of the Imperial British Army. Changing many hands, it finally came back the family and has been cherished ever since. Step into Woodville Palace Hotel and be transported to a by gone era when Shimla was the summer capital of the Raj and British Socialites mingled atll tea parties and gala evenings with Indian Aristocracy. The only Palace Hotel in Shimla, this heritage property is owned and managed privately by the decedents of the Jubbal Royal family who seek to give travelers an experience of Rajput hospitality. SHIMLA: Taragarh Palace Found amidst the picturesque landscape of the Kangra Valley in Himachal Pradesh, India, Taragarh Palace stands as a testament to architectural grandeur and regal charm. Originally known as Alhilal, the palace was built in the early 20th century. Later bought by the royal family of Jammu & Kashmir for the dowager Maharani Taradevi who hailed from Himachal to live in. This architectural gem became her summer retreat and also the home Dr. Karan Singh visited every summer. The palace witnessed the splendour and opulence of royal festivities, and, Taragarh Palace serves as a luxurious heritage hotel, offering visitors a chance to relish the royal lifestyle and immerse themselves in the palace’s rich history. NAINITAL: BALRAMPUR HOUSE Balrampur House Resort and Hotel with its sprawling, green gardens, majestic Himalayan views and vintage appeal is a true gem nestled in the Talli Tal of Nainital. The summer Palace of the former Maharajas of Balrampur since 1890’s it was reconstructed and redesigned in 1930 by the renowned European Architect Mr Mortimer in the style of French Chateaus. The owners, Maharaja Dharmendra Pratap Singh who also runs industries in his state of Balrampur in UP ensures that guests get to relive the Princely era, maintaining the original appeal with vintage furniture, trophies and old crockery. The hotel offers a clear view of the Naina Peak & the Ayarpata hill.

FROM IDEAS TO IP: TRACING THE JOURNEY OF INTANGIBLE HERITAGE

December 5, 2023, 1:59 am

In today’s world of whimsy, nothing sells better than a unique idea thought right. Startups like Nykaa, Jaypore, Zomato etc with their well-funded trajectory have proven that the journey of an idea into a well-crafted IP is the most crucial ingredient needed to ring in the profits. No one, in fact knows that better than the IPR expert who helps them protect their best-selling, path breaking idea. Taking them from zero to hero being an awarding process for him. Safir Anand is one such nerdy, celebrated IPR lawyer who, as Senior Partner, Anand & Anand protects and represents most blue chip, idea driven successful and endearingly beautiful Intellectual Properties, born in India. Yet his heart is in being a brand evangelist to young, struggling ideas that are mind blowing & sweet. His soul rest in protecting India’s hand-made heritage. The tangible and the intangible stories that enrich the Indian treasure trove. Little wonder than that he recently brought together 21 interesting idea lead brands, founding an equally innovative platform he christened The Great Indian IP Feast. A veritable umbrella that promises to celebrate brands, big and small, that are made in India and personify India handmade, the inaugural event was held at the cultural hub Bikaner House. Presented on the occasion were a host of stories that are vocal for local. “India is possibly the richest treasure trove of arts, crafts, design that are hundreds of years old, yet ever evolving. From this reservoir have emerged so many unique brands that tell a compelling tale and get further enriched by becoming an Intellectual property. My platform The Great India IP Feast will offer a window to all these tiny tales that are unique and rich,” Shared Safir Anand. At the inaugural event were presented Indri, an award winning single malt born in India, Stranger and Sons, an Indian origin gin, Kibba Lager beer, made in Ludhiana, P-tal, a revivalist project lead by students of SRCC, India Craft Project that works with over 80 master craftsmen, Nihira, known for their liquor ladoos and other mithais, House of Badnore, a memorabilia accessory story, Royal Fables, a curation of palace atelier products, Kiara Soul Kitchen that serves purely vegetarian cuisine and many others. The two sisters, princess of Pratapgarh Alka Rani and Archana Kumari recreated cameos of their inherited legacy. While Alka showcased the beauty rituals of Avadh, Archana who married into the Badnore family skillfully recreated the elegance and richness of regal memorabilia However, for him, the most unique was the food served by three royal kitchens of India under the project Kitchen of the Kings. A culinarian who must have visited 70% of the Michelin star restaurants across the globe, he invited the research-based platform Kitchen of the Kings to announce their foray into commercial endeavors like hosting a very high nosed sit-down dinner or collaborating with fine dining restaurants for special food festivals. The platform collaborated with chefs from Kangra, Rampur & Sailana, along with Unnati Gupta whose cloud kitchen Tari celebrates the curries and kebabs of Avadh. Together they presented in the most indulgent style, hors d’ouvres that belonged to the royal recipe books of their families. Nawab Kazim Ali Khan of Rampur shared the uniqueness of these recipes saying that, “Royal cuisine is very different from regional cuisines. What is cooked in our kitchen are recipes that our mothers and grandmothers brought from their homes and perfected in the Rampur kitchen. They are totally distinct from what the world sees as Rampur food and as scions of this legacy we hope to share this with the world.” The chefs from Rampur rustled up the signature Biryani that got served in shot glasses, their gilawat ke kebabs that emerged in decorated silver platters, their nawabi daal that was garnished with onions caramelized in dollops of ghee. The Maharani of Kangra meanwhile shared some much-loved Sailana recipes that she grew up enjoying as the Princess of that state including mutton kebabs that were fried and immersed in dahi. Meanwhile Unnati’s rasiley chicken kebabs were a melt in the mouth delight.

Roop Pratap Choudhary: Recreating old wines in new bottle

December 5, 2023, 1:59 am

The Sukerchakia Jat Sikhs who were the landlords of various regions of Undivided India including Gujranwala, Sheikhupura, Sialkot, Lahore, and Amritsar are now mostly settled in Karnal, Sangrur, Patiala and Ferozpore. Erstwhile nobles they are born in the lineage of none other than Maharaja Ranjit Singh and occupy high positions of relevance in independent India. One such family being that of Col. Manbeer Choudhary, a much decorated army official from the Armoured Corps who, with his creatively disposed wife Binny Choudhary recreated a cameo of their palatial home in Gujranwala town. Earmarking many acres of his land for a modern-day palace he brought alive the much acclaimed Noormahal Palace which today has become the most preferred destination of discerning Indians seeking a few days to emulate the princely life. Noormahal’s architecture recreates the rich iconography of regal India: Frescoes in Gold made by 5th generation artists whom the family invited from Rajasthan to paint the sprawling courtyards. Including one such baradari that mirrors the brilliance of City Palace, Jaipur. Shares the colonel, “ I worked closely with Maharaja Bhawani Singh ji who was a decorated war hero. I visited him often at his home and fell in love with the chintz inspired frescoes at the City Palace in Jaipur and decided to recreate in our palace hotel. ” A living museum, the hotel also houses a vast collection of rare antiques and paintings his wife collected from across the country over the years. I had the occasion to visit this splendorous space and meet their son Roop Partap Choudhary who not only oversees every tiny detail of the palace hotel but also has created Colonel Saab in Covent Garden, London as an ode to his father, the Colonel Saab. An excerpt of a freewheeling chat with him Q: How was it like seeing your parents create such an iconic property such as Noormahal Palace when you were growing up? What are the initial hospitality lessons you learnt during that time? A: I was very young when my father started giving shape to his dream of building a hotel that embodied the magnificence of the Indian royal era and the warmth of Indian hospitality along with the comfort of a modern day hotel. Totally opposite to what other hospitality brands were building, he decided to build a hotel true to the architecture of an Indian palace. Observing my parents work on the project and listening to them talking about their work was my first and most rooted lesson in hospitality. I learnt that without passion there is no excellence. And if you truly believe in your dream then no matter what the challenges are or what the prevailing trends are, you can break all barriers and create a historic edifice. I also learnt that, while madly chasing an impossible dream of creating an immersive palace property you can seamlessly blend in modern-day amenities that are starkly opposite to a laid back palace life. Q: How did the founders, your parents and now you continue to maintain the balancing act of past living with the future? A. Maintaining a balance between the grandeur of rich Indian royal heritage and modern amenities is in our DNA. We enjoy Indian art, imbibe it into our life and I think both the hotel in Karnal and the restaurant in London is an embodiment of that. We are also mindful of integrating technological advancements seamlessly into the system. Even our staff training modules are designed to maintain an optimal balance of warm Indian hospitality ethics and modern practices. One would be surprised to see how well these two very different concepts work together. Q: In recent years, experiential travel has become increasingly popular among travellers. How does Noormahal Palace provide unique and memorable experiences to its guests? A: Indians, in fact, people across the world are looking for experiences. They want to enrich their life with moments of joy and I think at Noormahal Palace we help them feel the euphoria of living like modern day kings and queens. We take them into the annals of our glorious past. We help them relive the opulence. And we do that with our attention to detail. I believe in the idea that God is in the details and we do not ignore even the smallest thing. So right from the palatial architecture inspired by Mughal and Rajputana Palaces, showcasing art works and antiques that are true pieces of our history (scouted from across the country), traditional frescos, handpicked furniture we first work hard on remaining authentic. Then there is the culinary experience that comes together in the fine dining restaurant Frontier Mail that incorporates signature dishes of every town and district the famed Frontier Mail chugged through. That is an experience in itself. Q: Sustainability and responsible tourism are gaining prominence in the hospitality industry. Could you shed some light on the eco-friendly initiatives undertaken by Noormahal Palace to reduce its environmental footprint? A: Even before sustainability and responsible tourism became buzzwords, we as a responsible citizens had taken initiatives to reduce our carbon footprint and keep it at a minimum. Noormahal Palace hotel’s architecture, inspired by the palatial blueprint, has abundant ventilation and provision for natural light. This drastically reduces the need for artificial energy during the day. The water used in the hotel is recycled to reduce wastage as much as possible. We also encourage our guests to follow the principals of responsible tourism to safeguard local ecology. Q: What inspired Colonel Saab and how was the experience of venturing to London? A: I wanted to pay an ode to my father’s journey in life. His innings as a celebrated Colonel, his struggle to establish such an iconic property. Living and traveling to the UK, I realized that there cannot be a better place to reach out to global food-lover community with our rich culinary heritage than London. London is the melting pot for global travellers and food lover community. We designed and packaged our heritage, our passion, our strengths, our food and our hospitality in Colonel Saab. My plans were delayed due to the sudden hit of the pandemic, but that did not discourage me. As soon as we were allowed to resume work, we swung into action. Working in London is completely different from working in India. But it has been a wonderful experience and truly gratifying to see the positive response that the global food-lover community has given to our efforts. They simply love Indian food and our Indian hospitality. Which I think is the most befitting reflection of my father’s love for India.

Manage Your Energy, Not Your Time

December 5, 2023, 1:59 am

Energy, not time, is the fundamental currency of high performance. Managing your energy rather than your time will help you stay physically energized, emotionally connected, mentally focused, and spiritually aligned –say Jim Loehr and Tony Schwartz How many times have you heard the phrase & quote; wake up early so you can complete all of your tasks?" That advice looks sound. Start early, finish early. The problem is that it doesn’t work for everyone. Not for the people who are night owls. For night owls, waking up early can lead to fatigue and decreased productivity throughout the day. People have different biological clocks as also people have different work schedules and demands on their time, so it cannot be a one-size-fits-all approach. Several theories have traditionally suggested that 3:30-5:30am is the most productive time when the dopamine release is high, with changing times and a large number of youth staying up till 3:00am the current behavioural changes need to be recognised and addressed. Not everyone is watching Netflix or gaming online till 3.00am, a lot of writers and artists are doing creative work and lots of business people are unwinding. If we study the time schedules and work patterns of people it will be evident that some people perform better early in the morning, while others perform better later in the day. So, it’s clear that there is something more important than time that people are managing to be successful. And that important factor is “energy”. "While the number of hours in a day is fixed, the quantity and quality of energy available to us is not,” say Loehr and Schwartz. Here’s suggesting three Tips for Managing Your Energy More Effectively During the Workday 1. Identify your peak hours: Energy management starts with identifying your most productive hours of the day. For one week, keep track of your working habits and make a list of the times when you got the most done. Keep an eye and you will notice a high and low energy pattern. Use your high energy hours for high priority tasks. 2. Monotask, don’t multitask: & quote; Monotasking & quote; is a more effective approach to working from the perspective of energy management. Monotasking refers to combining similar work tasks. Examples include making phone calls, preparing proposals, maintaining your website, producing marketing materials, etc. 3. Pace yourself like a top performer: What do the best chess players, actresses, and musicians have in common with the best athletes? It's interval training, says Florida State University's K. Anders Ericsson and colleagues. The research team at Ericsson discovered that these professionals were most productive when they worked in concentrated 90-minute sessions interspersed with rest periods. Listening to your body is essential for energy management. Your mind, body, spirit, and emotions are all extremely intelligent. They will tell you what they need and when they need it. It is up to you to listen. So, be smart and manage your energy and not your time. Dr Manjula Pooja Shroff MD, CEO Kalorex Group.

4 Tips for Choosing a South African Online Casino

December 5, 2023, 1:59 am

The online casino industry is expanding fast in South Africa - there are so many platforms to choose from that it is sometimes overwhelming. For a casual casino player who just wants to play for the laughs or someone who is aiming to claim serious jackpots, the right online casino is the best guarantee of an effortless experience. But which websites are worth your time and money? Here are four tips you need to know about the online casino market and how to choose the one that is right for you.

1. Check if the Casino is Licensed and Legit

Before pressing that “sign-up” button, the first thing you have to make sure of is whether or not the casino is licensed and legal to play in South Africa. Licensee casinos are not subject to any exceptions. So that means they’ve been scrutinised to be fair, safe, and trustworthy. It’s a big red flag if a casino doesn’t post its licensing information on the casino’s homepage in prominent terms - generally at the bottom. One licensing organisation that is particularly prominent is the Western Cape Gambling and Racing Board, which manages gaming regulations in South Africa. Be on the lookout for their licenses when searching for a site. Why does this matter? With a regulated casino you know your data will not be sold to people and you’re not going to be scammed after you win.

2. Seek out Good Games and Solid Software Providers

Why register with an online casino if the games are boring or fake? An excellent South African online casino must also have plenty of games to choose from, ranging from classic slots and table games to live dealer games. The diversity keeps it new and allows you to choose games that work for you and your taste. But here’s the catch - it’s not all about games. It's about who makes them. Reputable software developers provide good graphics, smooth play and consistent payouts. You know you’re in good hands if you come across big developers on casino games online in South Africa. There are also live dealer games you can consider - the feel of a real casino at your fingertips with real dealers and live games. It’s like going to a casino in person but without all the hassle of dressing up.

3. Check the Payment Methods and Payout Speeds

Let’s face it, who wants to deal with payment headaches when gambling online? Whether you deposit or you cash out - a casino is there to make it easy, fast, and safe. Check for the site that integrates with credit cards, EFT (Electronic Funds Transfer), mobile payments, and most e-wallets such as Neteller and Skrill. And even better, you can use crypto (Bitcoin, for example) to use in casinos that will instantly and anonymously send and receive. Payout times also matter. Nothing saps the winning energy like waiting days (even weeks) to cash in. The best casinos on the web make withdrawals quick. Make sure to read about the casino’s payment terms before you sign up, such as how long withdrawals take and if there are any hidden charges. If you don’t know, ask other players. You can read online reviews and get a pretty good idea of how easy or difficult the payment is.

4. Test Customer Support and User Experience

A great online casino is a joy to play at. It’s a breeze to use, can be played on desktop and mobile, and won’t crash during a winning streak. Those little things all add up to a smooth game. But what if you are stuck with an issue? That’s where customer service comes in. All trustworthy casinos have live chat, email, or phone support available day or night. Try them out - shoot them a test message to see how responsive and helpful they are before you sign up. You’re looking for a fun, professional team that will get you back up and running in no time. No one would want to be kept waiting when it comes to a technical error or payment issue, after all. If you also prefer to play on the go, then look for a mobile-friendly casino website or app. Mobile casinos are everywhere, and the right casino will be able to feel as good on your phone as it does on your computer.

Conclusion

Trying to choose the right South African online casino shouldn’t be a game of chance. Check for licensure, great games, your preferred payment methods, and a solid interface, so you’re primed for safe and fun gaming. Do your research before you jump in. The right online casino is the one that makes it interesting, is honest and feels rewarding. So, play safe and get the games rolling!

Maharaja Aishwarya Chand Katoch crowned as head of Katoch Clan

December 5, 2023, 1:59 am

The 489th ceremonial head of the Katoch clan, Maharaja Aishwarya Chand Katoch of Kangra-Lambagraon, was placed on the gaddi at a raj tilak ceremony in accordance with a tradition that dates back to thousands of years, in one of the oldest forts of India. In the presence of family members, guests, and 4,200 invitees from Dharamsala and nearby villages, the young heir, otherwise an astute entrepreneur and a well- educated citizen, promised to support the large Katoch clan spread over 436 villages that once formed his family’s jagir. Over this emotional and endearing ceremony, he replaced his father, the late Maharaja Aditya Dev Chand Katoch as the head of what was a leading hill kingdom, responsible for many socio-political reforms. Privy to a 21-gun salute, Kangra became the hub of arts and culture under the magnificent rule of Maharaja Sansar Chand. The present-day heirs of this legacy keeping this culture of patronage alive even in The Sansar Chand Museum that was founded by Aishwarya and his wife Shailaja and houses some of the finest paintings that were born during the rule of Sansar Chand who took the school of pahadi paintings to its zenith. An ardent devotee of his beloved Lord Krishna he encouraged the artists in his atelier, including Nain Sukh to get inspired from classic like the Geet Govindam while painting. The ceremonial Raj Tilak (coronation) of the 489th descendant of the Katoch rulers of Kangra, Maharaja Aishwarya Chand Katoch of Kangra-Lambagraon, took place in the majestic Kangra Fort, some 20 km from the city of Dharamsala, in Himachal Pradesh. With the purely ceremonial nature of this Raj Tilak (since the government removed official titles and privy purses in the 70s), Maharaja Aishwarya Katoch is the first Kangra royal to be crowned at this fort for 400 years – ever since Raja Hari Chand’s time, who lost the fort to Emperor Jahangir in 1620. Maharaja Aishwarya Katoch, who divides his time between Delhi and Dharamsala, is a director of IndiaBulls, and runs a homestay in Dhara=msala, a colonial-style villa named Cloud’s End. He also personally maintains the museum, housed next to the fort with its own dedicated cafetaria. At his tilak he hosted 300 members of the larger Katoch family or clan, friends, descendants of rulers of erstwhile Princely States, as well as 4,200 people from the region of Kangra, who were treated with a traditional Kangra ‘dham’ lunch, that is offered to their family deity, Goddess Ambika Devi. Dham is a temple cuisine comprising of rice, lentils and locally grown vegetables. It is traditionally cooked by bootis (Brahmin cooks) and serves thousands of people. A simple, flavorful meal served on banana leaf it was, “Much relished by our guests who came from across the globe, “Shares Shailaja. “Though at dinner and the following day we served, Chinese, continental and Rajasthani food, the guests appreciated this temple meal most, “She added. The ceremony, a simple ‘tilak’ from a fellow Katoch family member took place in the courtyard of the family temple of Ambika Devi, at the top of the fort (guests had to climb some 200 steps to reach the venue) with invocations from the family priest. The Katoch dynasty is one of the oldest in the world, and traces its lineage back to The Mahabharata, and finds mention in Greek scholar Ptolemy’s writings – when a Katoch raja fought Alexander the Great. The Kangra Fort, one of the oldest forts in India – was invaded and looted several times – by the likes of Muhammad of Ghazni and the Tughlaq ruler of Delhi – and once boasted of silver doors and gold windows. “It was a very emotional experience for me,” says Maharaja Aishwarya Katoch of Kangra-Lambagraon, of this ceremony that took place one year after his father’s demise, late Raja Aditya Chand Katoch of Kangra-Lambagraon. Maharaja Aishwarya wore a velvet choga, with a polki necklace and sirpech, flanked by his son Yuvraj Ambikeshwar Katoch and his wife Maharani Shailja Katoch, who was wearing a pink Himachali churidar suit which was a toned-down version of the flowing Peshwaj worn by the earlier Maharanis,” People came with all heart and excitement. Our clan took the whole event as their family function. They came as if they were celebrating in their own homes – dressed up in their finery, whatever they could muster up. I was touched with how much they wanted to meet me and be with me, not just taking photos, but participating in the prayers with me and being in the temple, being part of the ceremony, greeting my guests, wearing my badge with honor on their chest. I was humbled – it made me feel proud of my family, what my mother (Rajmata Chandresh Kumari of Kangra-Lambagraon, Princess of Jodhpur, and former Cabinet Minister with the Congress government) stood for, my ancestors, what they gained with the public’s love.” “It’s been special to have the function inside the Kangra fort, in front of my Kul Devi’s temple, after 400 years, something even my famous ancestors have not had the privilege of doing,” he says. “I just felt tremendously blessed by our Goddess Ambika Devi and humbled by the people’s love.” Notable royals in attendance, included rulers of many leading princely states including: Yuvraj Vikramaditya Singh of Kashmir, Raja Rupender Pal of Kutlehar, Raja Omeshwar Singh of Mandi, Raja Kirti Chand of Bilaspur, Raja of Kullu, and several Himachali politicians. The Katochs have roots deeply intertwined with many princely states. Shailaja is the Princess of Sailana in Madhya Pradesh. Her mother is the Princess of Jaisalmer. Her brother is married to the princess of Mysore and Aishwarya’s mother is Maharaja Gaj Singh of Jodhpur’s eldest sister. In attendance were also seen Maharaja Kamal Chandra Bhanjdeo of Bastar, Nawab Kazim Ali Khan of Rampur, Princess Mrinalika Bhanjdeo of Mayurbhanj, Maharaj Kumari Kalpana Kumari of Wankanerthe the Raja of Amb, the Raja of Datar, Maharaja Pushpraj Singh of Rewa, Maharao Raghubir Singh of Sirohi.

Chaasmi from Avadh asks you to be yourself

December 5, 2023, 1:59 am

“Chaasmi is actually a Sanskrit word which means as I am. What I create under this revivalist brand is a reflection of all that I am. A coming together of all my collective memory of being born a Rajput woman into a Talluqedar family in the state of Awadh,” shares the soft spoken Nandiniy Singh who recently presented her collection at a Palace Karkhana pop up in Delhi’s Chanakya Mall. Sarees in soft georgettes, crisp organzas, flowing chiffons and rich crepe de chines flew off her rack. Each one telling a story, a tale of endearment. With iconography of avadhi flora and flora emerging in fine tapestry style in many of them, her sairs personify the Parsi gara style. While many others celebrate the indigenous embroideries of Lucknow: Mokaish, naqashi-kantha, Chikankari, tepchi etc. For Nandiniy they are simply an imagery born out of the feisty women she grew up with. Nandiniy was the daughter of the Talleqdar of Gaura Raj in Rae Barreily. Her mother came from Bengal and brought with her the culture of the Thakur Baadis and the rich literature of Rabindranath Tagore. Nandiniy grew up initiated into both these culturally powerful worlds of Avadh and Bengal. Her home, a resplendent mansion, the villagers called peeli kothi was always full of action: “Early memories of my wonder years, would be a leaf out of a Bollywood mega-movie, where every day was one large celebration, triggered by the ‘love for life’ that each one espoused and lived it to the hilt. If ‘Big Indian Joint Family’ needed a definition, this was it!” “The women folk, who weren’t really encouraged to step out, used every day as an expression of themselves. The ‘make-up’ was mostly nude but the clothes sure were a voice deep inside of them. My Mother, Aunt’s, Grand-Aunt’s wore their flowing floral Chiffon’s and Organza’s with aplomb. The pearls played their role and the occasional sunglasses just made pretty pictures, prettier!” Sent to Lucknow and educated in the arts, Nandiniy married early into a family of successful Lawyers. She smiles, “While I lost most of the arguments, I won a whole lot of hearts.” The next two decades were spent bringing up two children, both qualified Lawyers today. “Guess who is winning the arguments now: The kids!” The Singhs travel extensively, “From Rome to Russia, we visited a new country every summer and I was inspired by the art I witnessed at their museums, their beauty etched in my mind forever. “ As a source of inspiration, Nandiniy also celebrates are all things natural, the flora & fauna which today find their way into her embroideries.” My maternal, Bengali gene had me pick up the paint brush early but more as a hobby. With time on my side once again, there was always this side of me that wanted to give back, wanted to express, wanted to connect, wanted to explore! Sanskrit drew me to Kalidasa’s poems which were brimming with sensuous portrayals of women, amorous longing’s, blissful unions that kept constantly painting a new picture in my mind and inspired me to keep creating something new each and every time I read them.” Bird motifs too find great expression in her clothes. “The identity of a ‘Crane in Flight’, suggests free spiritedness and the spreading of wings, as one soars high, much like the women we want to allure to our collection. My purpose is to create unique masterpieces which will make women feel their inner strength as they embrace their feminine best, unapologetically.”

Fashion Trends: It Is Raining Fair Commerce Labels This Diwali

December 5, 2023, 1:59 am

As the fervour of dressing up for a festive occasion catches every woman’s imagination and metro denizens get inundated with party invitations, dressing up with a conscious and sustainable collection catches steam. Royal and palace ateliers are riding this wave. along with conscientious denizens who are looking keenly towards the world of the future and creating voices for local hand-made brands that are fair commerce at their core.

This Diwali, the overdressed, glitzy glam look has been carefully replaced with artisanal, hand-made, hand-tucked and hand-embellished ensembles. Block printing tops this list. The free-flowing forms of the kaftan, the aabha kurtas, and the anarkalis worn with the chauda pyjamas take up every fashion diva’s mind space.

At the royal ateliers, two brands ace this look. Rani Jaykirti Singh Baria’s studio tops this genre. Her block prints spell a cerebral beauty that few can match. Her blocks are a piece of art, what with the designs getting carved on teak wood using special equipment. For all the different hues we see in her designs, different blocks are used. The outline of the lead block is called the "rekh". The block that fills the foreground is known as "datta". For the background or blotches, we use a block called "gadh". When something is created with such elaborate effort, the results can be nothing but exquisite.

The blocks made in her studio in Jaipur are more intricate and have more depth. The result is clearer printing and cleaner surfaces. What makes her prints even more intricate and endearing are the number of air passages, or "pavansar,"the blocks have. These holes drilled through the blocks ensure the circulation of air. While using the blocks, the holes prevent the fabric from lifting when the block is raised. Simple techniques lead to stunning ensembles created painstakingly.

Meanwhile, in Delhi, a new brand, Yumi, is slowly making inroads into this world of commitment. Moved by the plight of the Indian artisanal community and committed to a sustainable way of life, two design professionals, Natasha Chaudhri and Shilpa Gupta, launched Yumi. A fashion label that represents a unique curation of design-led, conscious women's wear that is hand block printed and woven by female artisans. Yumi also works with village artisans and women weavers to create special textiles and saris that are hand spun, hand woven, and dyed in natural dyes.

Inspired by the Japanese word "Yumi," which means "abundant beauty," the label attempts to take fashion seekers back to their roots. Inviting fashion seekers who are as committed to helping the planet heal, Yumi is uncompromisingly chic and high on its design and style quotient. Following a design-led, fair commerce philosophy, Yumi celebrates the abundant artisanal beauty of Indian handicrafts. It’s a collaborative initiative with artisans to revive and sustain the creative and traditional handicraft knowledge system of India.

Natasha Chaudhri and Shilpa Gupta share "We are committed to working with the artisans through special design interventions using natural fibres like fine linen, khadi, organic cotton, cotton silk, and muslin. "We are seeking to create contemporary markets for the products as an initiative to sustain the art form as a mark of deep respect for the artisans pursuing the handcraft despite the innumerable challenges," adds Shilpa.

Shilpa and Natasha have been design entrepreneurs and restaurateurs for over 22 years and are now inspired to serve vulnerable communities with love. Besides their fair commerce label that works with artisans, they have also curated Yumi Farm and supported small women village farmers and entrepreneurs to create a bouquet of farm products to support them through the pandemic. As an ode to children in villages, Natasha & Shilpa work closely to bring equal and fair literacy to children. This year they worked to set up a mobile library for children in a village in Jammu.

Another favourite for me this year is Label Pratham, brought alive by two young craft protagonists who are reviving the splendid aura of Pichwai and Kalamkari. Popular as the Pichwai Couple, Shweta and Prashant Garg started designing outfits for each other in early 2004. Little did they know that they would take up design as their profession in the future. Coming from steel business families and with no formal training in fashion, ‘Label Pratham’ was born out of the couples’ inclination towards art and design intricacies in 2011. Label Pratham is not just a brand but a true labour of love where each creation is motivated by the designers’ commitment to keep alive the unadulterated exuberance of the textile traditions of India in its designing process.

And this commitment has now led to graceful amalgamations of Pichwai with other traditional artforms and crafts like Kalamkari, Ajrakh, Jamdani, Paithani, and Aari & Ahir embroideries to suffuse the life of an Indian diva with aesthetic fashion.

Last on my list but never the least is the new born label Tinka Tinka, born from the ever exuberant brilliance of fashion protagonist Ishita Sudha Yashvi, who has emerged as such an icon of all things hand-made, local and unique. Her brand personifies her world. So what are you waiting for? Go get dressed for Diwali and also save the world.

An ‘indrilicious moment’ with
Royal Fables, new heritage stories

December 5, 2023, 1:59 am

The textile tale this year gets enriched with the celebration of poshaks as created in heritage studios of Rani Jaykirti Singh Baria, Occhre, Aaraish from Sherkot and Geetanjali Shekhavat. Chiffons, a maharani’s staple returns in all its splendor with Just Chiffons, Preeti Singh Daspan and Sri Tana Bana. Master weaver Nirmal Salvi brings in his stunning patolas as the splendor of Varanasi looms gets recreated by Rajkumari Alka Rani, Sri Tanabana, Kalyani and Sree by Shrishti. Art transcends into clothes with Pratham creating sarees with Pichwai art hand painting and Rani Sunita Singh of Khajurgaon recreates florals in fabric painting. Committed to presenting the finest art, Princely India has to offer, Royal Fables brings, for the first time, Basoli art created by master artists under the artistic patronage of Jyotsana Singh at Amar Mahal Museum and Library, Jammu & Kashmir. A reputed school of miniature paintings known for its vivid, evocative colors, bold lines, and deep-set facial patterns; it is being conserved under the caring patronage of the royal family. Named after Basholi, a town in Kathua, Jammu and Kashmir, India, it was founded by Raja Bhupat Pal in the 16th century. In art as well comes in Ajay Singh Peelwa who is not just a conservationist but also paints his beloved horses and Cheetahs on canvas.

He brings with him a special Cheetah painting which will be unveiled by Maharaj Kumar Ranjit Sinh of Wankaner, the man who is instrumental in bringing the cheetah to India. Pichwai art by Princess Vaishnavi Kumari of Kishangarh recreates the romanticism of the era of art brought alive by her ancestor the poet king Nagari Das in the 18th Century. Aulerth jewelry is finessed in design, brought to life with fine jewelry craftsmanship, which gets create in partnership with leading fashion designers—currently partnered with: JJ Valaya, Suneet Varma, Tribe Amrapali, and Shivan & Narresh. Aulerth’s goal is to significantly reduce the destructive carbon footprint behind the jewelry. Also, from Rampur comes Ustad Shakhawad Khan who is one of few, remaining singers who can sing compositions of the late Nawab Sir Raza Ali Khan of Rampur. Also filling the evening with their unique notes are Soul Diviners presenting music by Siddhant Bhatia and Keerthy N a r a y a n w h o together take classical Indian notes to a new age trance realm. The highlight of the evening though is a heritage drive with Heritage Motoring Club of India that features 13 rare cars including the Maharani of Baroda’s 137 RollsRoyce Phantom 3, coach built by Kellner, Pari

Ahead of Gujarat elections, BJP to start huge feedback campaign ‘Agrasar Gujarat’

December 5, 2023, 1:59 am

Next month, when the state goes to the polls in two phases, the ruling Bharatiya Janata Party (BJP) will launch a campaign called Agrasar Gujarat that will cover all 182 assembly constituencies in order to get feedback from more than 10 million people on what they believe should be done to further develop the state. After the election is over by November 15th, it will release its vision statement for the state.

Prior to the elections on December 1 and 5, the BJP will also choose central ministers to connect with voters around the state and solicit their opinions on new policies and solutions to current problems.

“Senior leaders including members of the state unit will travel to all constituencies, make door-to-door stopovers to interact with people...organise specific meetings for different groups such as professionals, artists, farmers, women, and the youth,” the functionary said.

On the party's website, through suggestion boxes that will be placed up throughout all the constituencies, and through missed calls to the number 7878182182, voters will be able to offer suggestions.

"The party will connect with the beneficiaries of the state and central schemes including those who have been working and living in the state but are from other states,” the functionary said.

For Union ministers to visit the state and engage with voters, a schedule was being created. In Surat, Union Minister Piyush Goyal will speak with working professionals, and Mahender Nath Pandey will connect with street vendors and factory workers.

Tejasvi Surya, who heads BJP’s youth wing, will interact with first-time voters. “Senior ministers Anurag Singh Thakur, Smriti Irani, Giriraj Singh, and Vijay Rupala will also be travelling to various parts of the state as part of the outreach,” the functionary said.

ROYAL FABLES SEASON 12 RECREATED THE AURA OF REGAL, ROYAL INDIA

December 5, 2023, 1:59 am

It was a royal Diwali at DLF Emporio as Royal Fables mounted its first big show post Covid. As festivities filled the air, the platform presented 51 fantastic fables of design, adding many more interesting elements and new heritage stories to the show.

The textile tale this year was enriched with the celebration of poshaks as created in heritage studios of Rani Jaykirti Singh Baria, Ochre, Araaishh from Sherkot, and Geetanjali Shekhawat. Chiffons, a maharani staple returned in all its splendor with Just Chiffons, Preeti Singh Daspan, and Sri Tana Bana. Master weaver Nirmal Salvi brought in his stunning patolas as the splendor of Varanasi looms got recreated by Rajkumari Alka Rani, Sri Tanabana, Kalyaani, and Shree by Srishti. Art transcended into clothes with Label Pratham creating sarees with Pichwai art hand painting and Rani Sunita Singh of Khajurgaon recreated florals in fabric painting.

Committed to presenting the finest art, Princely India has to offer, Royal Fables brought, for the first time, Basoli art created by master artists under the artistic patronage of Jyotsana Singh at Amar Mahal Museum and Library, Jammu & Kashmir.

A reputed school of miniature paintings known for its vivid, evocative colors, bold lines, and deep-set facial patterns; it is being conserved under the caring patronage of the royal family. Named after Basholi, a town in Kathua, Jammu & Kashmir, India, it was founded by Raja Bhupat Pal in the 16th century. Princess Mriganka Kumari of Jammu & Kashmir also recreated the tradition of handmade furniture, chiseled and carved from the finest woods and inspired by the art deco era that influenced Princely India.

In art as well came Ajay Singh Peelwa who is not just a conservationist but also paints his beloved horses and Cheetahs on canvas.

He brought with him a special Cheetah painting which was unveiled by Maharaj Kumar Ranjit Sinh of Wankaner, the man who is instrumental in bringing the cheetah to India. Pichwai art by Princess Vaishnavi Kumari of Kishangarh recreated the romanticism of the era of art brought alive by her ancestor the poet king Nagari Das in the 18th Century.

Aulerth jewelry is finessed in design, brought to life with fine jewelry craftsmanship, which gets created in partnership with leading fashion designers—currently partnered with: JJ Valaya, Suneet Varma, Tribe Amrapali, and Shivan & Narresh.

Aulerth’s goal is to significantly reduce the destructive carbon footprint behind jewelry.

Under its culinary platform Kitchen of the Kings, Royal Fables presented the culinary fable of Nawab Kazim Ali Khan of Rampur (Avadh), Kanwarani Vijaya Singh Sirmaur (Himachal), and Thakur Shivraaj Singh of Limdi (Panch mahal and Mewari).

Also, from Rampur came Ustad Shakhawad Khan who is one of the few, remaining singers who can sing compositions of the late Nawab Sir Raza Ali Khan of Rampur.

Also filling the evening with their unique notes were Soul Diviners who presented music by Siddhant Bhatia and Keerthy Narayan taking classical Indian notes to a new-age trance realm.

The highlight of the evening though was a heritage drive with Heritage Motoring Club of India that featured 13 rare cars including the Maharani of Baroda’s 137 Rolls- Royce Phantom 3, coach built by Kellner, Paris.

The Chief Guests of the evening were Their Highnesses Maharaja Brajraj Singh of Kishangarh and Maharani Meenakshi Devi.

Techniques of handmade jewelry were also celebrated by young women of royal lineage like Baisa Pushpita Singh who makes achkan buttons from vintage coins, and Vibha Shekhawat who creates the most stunning Rajput jewellery and Jewels of Bikaner’s jadau jewels.

Introducing Camikara, the first Indian cane juice rum

October 20, 2022, 12:01 am

This Diwali, we are proud to introduce Camikara, a one-of-a-kind rum from the house of Piccadily Distilleries. It is the first pure cane juice rum to come from India, after being matured for twelve (12) long years in American oak casks. Bottled at a strength of 50% ABV, Camikara has no added colour, caramel, sugar or flavours, making it a 100% naturally aged rum.

Only a limited quantity of individually numbered bottles will be released worldwide, with the United States having already pre-booked the largest allocation of 1200 bottles, followed by the UK 400 bottles and 800 bottles to be distributed in the rest of Europe, India has been allocated 400 bottles with rest of the world getting 800 of the remaining stock.

The search for producing an indigenous, high quality, cane juice rum began when it was observed that despite India being one of the largest producers of sugarcane, does not produce any high-quality cane juice rum.

In the year 2009, in a quaint little village Indri, India, the sweetest stalks of sugarcane were picked, the juice distilled and placed in 956 American oak casks. This spirit sat patiently for twelve (12) long years, interacting with the wood - gaining colour, flavour and character as time rolled by. When the spirit was finally drawn from the barrels, it was a sight to behold. A stunning golden elixir that the distillers immediately christened‘Camikara’ literally meaning liquid gold, a name of Sanskrit derivation, keeping true to our Indian heritage at Piccadily Distilleries.

When the barrels were finally emptied, it was discovered that only 6.6% of the original cane juice spirit remained, with the rest being usurped by the angels, as their share. The leftover spirit was unique, almost magical the taste and texture, comparable only to the finest rums globally. Camikara is a true treasure rediscovered. Born from tradition and sure to go on to stamp its name in the annals of history.

From the owner, “We never imagined we would inadvertently create such a rum. our inspiration came from the history of the local households of the area, where they have been distilling cane juice to make a local brew called Laahan, it has been part of the culture and customs of the Punjab region for thousands of years. Our goal was to revive this age-old tradition and we even went a step further by maturing it in oak casks, to bring it up to international standard. We have started with a small-batch, a specially curated edition of Camikara, to be exclusively shared with a select few.”

Camikara is the pioneer of a revolution - a testament to our land’s history, its culture and its people. A true physical manifestation of ingenuity and innovation, Camikara was born for two reasons: to rediscover the past; and to pave the way for the future.

About Camikara:

● An exclusive Limited edition rum, aged to twelve (12) years.

● India’s first pure cane juice based rum.

● A sipping rum, best enjoyed neat, to discover the depth of its flavour and character.

● Bottled at a strength of 50% ABV.

● Aged in ex-bourbon, American oak barrels.

● 400 bottles of Camikara have been allocated for the Indian market (at an approximate MSP Rs. 6200).

An ‘indrilicious moment’ with Royal Fables, new heritage stories

October 13, 2022, 12:21 am

It’s a royal Diwali at DLF Emporio and Indri, India’s finest single malt is saying cheers to that. My labour of love, Royal Fables, celebrates a royal Diwali with a two-day exposition held at Setz, DLF Emporio, on 14 and 15 October, 2022 and the high point of the moment is a dinner which is a jugalbandi between royal cuisine and Indri whiskey.
With a series of interesting elements orchestrated for the forthcoming exposition, the platform adds many new heritage stories to the show. Showcasing 51 fantastic fables, the 12-year-old platform creates a veritable visual feast for heritage lovers with textiles, folk and royal art, wild life paintings, hand craft, jewellery, music and royal cuisine.
Under its culinary platform Kitchen of the Kings, Royal Fables presents the culinary fable of Nawab Kazim Ali Khan of Rampur {Avadh}, Kanwarani Vijaya Singh Sirmaur {Himachal} and Thakur Shivraaj Singh of Limdi {Panch mahal and Mewari}. All paired with the three distinct notes of Indri whiskey.
The textile tale this year gets enriched with the celebration of poshaks as created in heritage studios of Rani Jaykirti Singh Baria, Occhre, Aaraish from Sherkot and Geetanjali Shekhavat. Chiffons, a maharani’s staple returns in all its splendor with Just Chiffons, Preeti Singh Daspan and Sri Tana Bana. Master weaver Nirmal Salvi brings in his stunning patolas as the splendor of Varanasi looms gets recreated by Rajkumari Alka Rani, Sri Tanabana, Kalyani and Sree by Shrishti. Art transcends into clothes with Pratham creating sarees with Pichwai art hand painting and Rani Sunita Singh of Khajurgaon recreates florals in fabric painting.
Committed to presenting the finest art, Princely India has to offer, Royal Fables brings, for the first time, Basoli art created by master artists under the artistic patronage of Jyotsana Singh at Amar Mahal Museum and Library, Jammu & Kashmir. A reputed school of miniature paintings known for its vivid, evocative colors, bold lines, and deep-set facial patterns; it is being conserved under the caring patronage of the royal family. Named after Basholi, a town in Kathua, Jammu and Kashmir, India, it was founded by Raja Bhupat Pal in the 16th century.
In art as well comes in Ajay Singh Peelwa who is not just a conservationist but also paints his beloved horses and Cheetahs on canvas. He brings with him a special Cheetah painting which will be unveiled by Maharaj Kumar Ranjit Sinh of Wankaner, the man who is instrumental in bringing the cheetah to India. Pichwai art by Princess Vaishnavi Kumari of Kishangarh recreates the romanticism of the era of art brought alive by her ancestor the poet king Nagari Das in the 18th Century.
Aulerth jewelry is finessed in design, brought to life with fine jewelry craftsmanship, which gets create in partnership with leading fashion designers—currently partnered with: JJ Valaya, Suneet Varma, Tribe Amrapali, and Shivan & Narresh. Aulerth’s goal is to significantly reduce the destructive carbon footprint behind the jewelry.
Also, from Rampur comes Ustad Shakhawad Khan who is one of few, remaining singers who can sing compositions of the late Nawab Sir Raza Ali Khan of Rampur. Also filling the evening with their unique notes are Soul Diviners presenting music by Siddhant Bhatia and Keerthy Narayan who together take classical Indian notes to a new age trance realm. The highlight of the evening though is a heritage drive with Heritage Motoring Club of India that features 13 rare cars including the Maharani of Baroda’s 137 Rolls- Royce Phantom 3, coach built by Kellner, Paris.

FASHION TRENDS: IT IS RAINING FAIR COMMERCE LABELS THIS DIWALI

October 6, 2022, 12:11 am

Shilpa and Natasha have been design entrepreneurs and restaurateurs for over 22 years and are now inspired to serve vulnerable communities with love.Besides their fair commerce label that works with artisans, they have also curated Yumi Farm and supported small women village farmers and entrepreneurs to create a bouquet of farm products to support them through the pandemic. As an ode to children in villages, Natasha & Shilpa work closely to bring equal and fair literacy to children. This year they worked to set up a mobile library for children in a village in Jammu.

Label Pratham is not just a brand but a true labour of love where each creation is motivated by the designers’ commitment to keep alive the unadulterated exuberance of the textile traditions of India in its designing process.

PALACE GARBA SET TO RETURN TO VADODARA

December 5, 2023, 1:59 am

Once again, it is time to dance for a cause as the enterprising Maharani Radhika Raje of Baroda and her team of Maratha women invite the denizens of Vadodara to Motibaug Cricket Club, which is all set to host the third edition of Palace Garba.
Founded to support the women’s empowerment initiatives of Maharani Chimnabai Stree Udyogalaya in Vadodara the Royal Garba is organised to raise the funding required for women’s social upliftment and entrepreneurship development.
Sold out already, it was flagged off with a performance by the LGBTQ community that Radhika supports.
Garba dancers can also look forward to dancing to the music created by iconic singers Ashita Limaye and Sachin Limaye in their soulful voices.
If Garba is the flavour of the season, dance on.

THE CHEETAH MAN’s DREAM comes true

December 5, 2023, 1:59 am

It took 74 years of dreaming, lobbying, fighting, and pleading by M. K. Ranjit Sinh Wankaner to finally see the Cheetah return to India. As a child, he dreamt of seeing the nimble-footed sprinter back on Indian soils. Cheetahs became extinct in India after Maharaja Ramanuj Pratap Singh Deo of Koriya shot the last three surviving big cats in 1947. Yet this IAS officer of the 1961 batch of Madhya Pradesh cadre and one of the masterminds of the Wildlife (Protection) Act, 1972, listed them as endangered. Ever since, he has been lobbying for their return.
It was a very pleased 84-year old activist, ex-IAS officer, and scion of the Wankaner family who stood in the aisles as our Prime Minister released eight cheetahs into the Kuno National Park. He had also worked in a sanctuary during his stint as a bureaucrat.
While drafting the Wildlife (Protection) Act, 1972, the former director of Wildlife Preservation included the cheetah as a protected species, even though it was extinct.
India’s first attempt to bring back the carnivore was in the early 70s. It was Ranjitsingh who spoke to Iran even then, but the negotiations stalled after the declaration of emergency in ‘75 and the deposition of the Shah of Iran in 1979.
Since then, Ranjitsinh and wildlife conservationist Divyabhanusinh Chavda have worked on the guidelines and policy to reintroduce cheetahs. And today, when their dream has come true, they cannot stop their smile.

A REGAL CELEBRATION FOR THE BIG FAT INDIAN WEDDING CEREMONY

December 5, 2023, 1:59 am

It was like a meeting of like-minded people. A coming together of an industry that remains invisible yet leads to a multi-million dollar industry of big fat Indian weddings. The WeddingSutra Influencer Awards 2022, brain child of industry evangilist Parthip Thyagarajan, saw the who’s who of the wedding industry enjoy a laid-back evening as leading luminaries gave away awards.
This uber-glam event, hosted jointly by Taj Mahal Palace and WeddingSutra, saw every element of a wedding come to life. Indulgently beautiful flowers, an uber-chic bar, photo op walls that bedazzled and cuisine that was exotic to say the least. The chefs at the Taj curated a delicious world cuisine that included Georgian delights, Lebanese, Mexican, Japanese, and other specials, not to mention the best of Indian food. The high point of the evening, however, was the understated Sima Aunty of India Matchmaking fame, taking to the stage and announcing, “Hi, I am Sima Taparia from Mumbai!” In a jiffy, the hall was in splits.
As a jury and a witness to this affair, I was simply taken aback with the sheer volume of creative outpourings that goes into making this such a spectacular industry. Weddings are a major business in India. According to a report by KPMG in 2017, the Indian wedding industry is estimated to be around $40–50 billion in size. Though the Covid scare put a stop to the large format wedding, Indians discovered the pleasure of celebrating the moment with their near and dear ones. “The scale of operations remained the same, only the guest list got trimmed, shares Parthip. It is estimated that the cost of an Indian wedding ranges between 500,000 and 50 million. An Indian is likely to spend one fifth of his total lifetime wealth on a wedding.

THE FRENCH MONARCHY’S SWEET TOOTH

September 8, 2022, 3:04 am

Last Saturday when famed French cafe Laduree launched in Gurugram, I got totally floored by their light as air macarons. A version of which is said to have been introduced in France during the decorative Renaissance era It was the French queen Catherine de’ Medici who brought her Italian pastry chef to her palace after marrying Henry II of France. A maestro at patisserie art, he introduced this meringue-based cookie to France in 1533. A sweet meringue-based confection, French macarons are made with egg white, icing sugar, granulated sugar, almond meal, and food colouring.

Sitting at the stunning Laduree Cafe Du The and biting into a splendid macaron, I was intrigued to trace the origin of macarons in France and how the French monarchy as well as the monastery played such an important role in making them an iconic dish. Another history nugget traces the macaron to two Carmelite nuns who sought asylum in Nancy during the French Revolution. They baked and sold the macaron cookies to pay for their housing. These nuns became known as the “Macaron Sisters”.

The art of French pastries started with the desire to have a sweet treat following a meal. Fruits and cheese were originally served after dinner, but to quench people’s lingering sweet cravings after a meal, the doors to the art of French pastries and confectioneries were opened. Thus the delectable, delicious, and dreamy world of cakes, pastries, candies, and classic French desserts was born. It was in the 1830s that macarons as we know them today came alive as two crisply whipped macarons sandwiched by jams, liqueurs, ganache, and spices. Originally called the “Gerbet” or the “Paris macaron,” this exotic version of the macaron was created by the legendary chef Pierre Desfontaines of the French patisserie Laduree.

It was not only in the 1930s that macarons began to be served two-by-two with the addition of jams, liqueurs, and spices. The macaron as it is known today, composed of two almond meringue discs filled with a layer of buttercream, jam, or ganache filling, was originally called the “Gerbet” or the “Paris macaron.” Pierre Desfontaines, of the French patisserie Laduree, has sometimes been credited with its creation in the early part of the 20th century, but another baker, Claude Gerbet, also claims to have invented it.

World-famous 159-year-old French confectionary brand Laduree, which was created in 1862, is synonymous with macarons globally, being one of the world’s best-known sellers of the double-decker macaron, of which 15,000 are said to be sold every day. Laduree was brought to India by the young, dynamic luxury entrepreneur Chandni Nath Israni. She says, “Indian food connoisseurs just can’t get enough of our macarons that are made from 100% natural ingredients.” Hence at every fancy party hosted by the Jindals, Ambanis, etc. a tower of macarons by Laduree is a must. Desserts have always been patronised by the French monarchy, which nurtured many legendary chefs like Marie-Antoine Careme, born in 1784, five years before the Revolution. He spent his younger years working at a patisserie until he was discovered by Charles Maurice de Talleyrand-Perigord and cooked for Napoleon Bonaparte.

DIGVIJAY SINGH ART WEAR, BBG ROYALS MARK STORE OPENING WITH FASHION SHOW

December 5, 2023, 1:59 am

His mother was the beautiful princess of Awagarh in Uttar Pradesh. A family is known for their stunning fort in Agra and the iconic Belvedare Hotel in Nainital that the family runs even today. She is a true Blue Hill person, born and bred in Nainital. Interestingly, these two school buddies studied together in distant Baroda at the School of Art years back, falling hopelessly in love with each other.

Digvijay Singh, whose mother hailed from the princely state of Awagarh and whose father belonged to a landed farming family from Kiccha, Uttar Pradesh, is a fine artist, chef, designer, and hotelier. His wife, the petite and pretty Nidhi Sah, from a hotelier background, is a book designer who has worked with both Indian and globally acclaimed publishers.

Great design enthusiasts from Uttarakhand who grew up as schoolmates, travelled to distant Gujarat to study art and design, and then vowed to live a life together, The one thing that binds them together is art and its various forms of expression. While following their own paths in life, they have created a unique brand—BBG Royals, which has a sense of vintage iconography given the generous use of wildlife, flora, and fauna, as well as architectural motifs as its main design bastion. A BBG Royal is sure to be found in every royal’s wardrobe. BBG Royals creates limited-edition printed chiffon saris, featuring floral and animal prints with true royal splendor. The artworks are meticulously hand-painted and then reproduced on sarees, making each piece unique and heirloom-worthy. Animal print designs (tigers, lions, leopards, and horses) have always been popular.

Taking their quest for design to a permanent address, they recently launched their flagship store under the label Digvijay Singh Artwear at the Royal Fables Ahmedabad edition, held at the Hyatt Vastrapur. Digvijay, meanwhile, also holds forth with his men’s wear label under his own signature. A Lakme Gen Next Designer in 2007 and a finalist for the “young entrepreneur of the year” by the British Council and Elle magazine, he was nominated for the best costume designer for the movie “Sahib Biwi Aur Gangster” at the Producer’s Guild Apsara Awards. He dresses various A-list and Bollywood celebrities like Anil Kapoor, Jimmy Shergill, etc.

Calling their show Buransh, the Hindi name for the sumptuously beautiful flower Rhododendron that grows in abundance in the Uttrakhand hills, the show had royals like Rani Jaykirti Singh, Princess Nandini Singh of Jhabua, Aditi Singh, and Namrata Singh walk the ramp in hand-picked printed saris from BBG. Digvijay, meanwhile, dressed in royals, including Kunwar Yaduveer Singh Bera in his signature achkans. while Deeksha Mishra, a celebrated mommy blogger from Delhi, did full justice to their bridal wear. A show divided into four distinct sequences, it went from a striking collection of bridal wear to splendidly printed saris to an interesting array of dresses with floral prints and minimalist embroidery. The who’s who of the city walked the runway for the fashion walk with the royals.with 7th Avenue and Sujhal adding to the jewellery story.

A show divided into four distinct sequences, it went from a striking collection of bridal wear to splendidly printed saris to an interesting array of dresses with floral prints and minimalist embroidery.

THE SHOEMAKER’S STITCH: MOCHI EMBROIDERIES OF GUJARAT IN TAPI COLLECTION

August 19, 2022, 7:03 am

Chain-stitch embroidery from Kutch in Gujarat has been prized for centuries as one of India’s finest textile types. Worked in dense chain stitch in lustrous twisted silk thread, it has lent itself to all types of design from the floral arabesques of the Mughal period and the hybrid chinoiserie of the western export market to the stylised flowers, parrots and female figures found in the colourful garments and hangings made for local patrons in the 19th century. This type of embroidery is traditionally associated with the Mochi or shoe-maker community of Kutch. The origins of the Mochis’ craft lie outside Gujarat and outside the borders of modern-day India. Some members of the Mochi community believe that their ancestors came from Sindh, today in Pakistan, in the 14th century, settling in Halvad, in Surendranagar District in Gujarat, midway between Bhuj and Ahmedabad before migrating to Kutch. They learnt the art of embroidering in silk thread on leather in Sindh. Other sources state that the Mochis are originally from Gujarat and that the art of embroidering on leather was taught to them in Gujarat by a Sindhi. Yet another version tells of Kutchi embroiderers secretly learning the art by spying on visiting Sindhi craftsmen only in the 18th century. In all of these scenarios, the origins of the craft in Sindh are undisputed.

Embroidered Bed-cover

Embroidered Palampore

The region had been renowned for its embroidered leather sleeping mats at least since the 13th century, when Marco Polo had admired them. These embroidered mats, as well as other leather items, such as hawking gloves, continued to be made until the 19th century. An adapted cobbler’s awl (aari), with its thick wooden handle originally intended to help the user push the hooked metal embroidery spike through leather, continued to be used for embroidery on cloth in Sindh at least until the end of the 19th century, as illustrated in an article by B.A. Gupte in the Journal of Indian Art and Industry in 1888. Travellers such as the Portuguese Duarte Barbosa in 1518 and the Dutch Jan Huyghen van Linschoten in 1585 admired the fine embroideries of Gujarat, especially Cambay, where the embroiderers had at some stage started embroidering on cloth as well as leather. Soon after the foundation of the East India Company in 1600, the English trading company was asking for ‘quilts made about Cambay’ to be sent, and by 1641 they start to appear in the Company’s London auctions. Gujarati embroideries continued to be popular with British buyers into the 18th century; Alexander Hamilton’s travel journal ‘A New Account of the East Indies’ published in 1725 states that ‘[the people of Cambay] embroider the best of any people in India, and perhaps in the world.’ While no examples of chain-stitch embroidery remain from as early as the 16th century, some superb pieces made in the 17th and 18th centuries both for the Mughal court and for export to the West do survive, and these are testament to the astonishing skill and adaptability of the embroiderers of the time. It has long been assumed that the fine chain stitch embroideries made for the Mughal court in the 17th century, and for export to Europe in the late 17th and 18th centuries were made by Mochi embroiderers working to commission. But a technical examination of these embroideries reveals some surprising information. While the 19th- and 20th-century examples for the domestic market appear to have been embroidered using the distinctive hooked awl (aari) after which this type of embroidery is often named (aari bharat), the earlier Mughal and export pieces from the 17th and 18th centuries have all been embroidered u s i n g a straight needle. This only becomes clear when the reverse of the embroidery is examined: the stitches made with the aari are all interlinked in one continuous chain with no gaps between the stitches, while those done with a needle are seen as individual stitches, often at haphazard angles and with tiny gaps between them. This seems anomalous given the traditional history of Mochi embroidery, in which the use of the hooked awl is central to the story of the transition from leather-working to embroidery on cloth. It might well be the case that the earlier pieces were made by embroiderers working in royal karkhanas or Company workshops who were emulating the effect of the Mochis’ chainstitch embroidery but we r e n o t themselves of that community. They would therefore not be familiar with the hooked aari and would work instead with a straight needle. The garments and hangings made by Mochi embroiderers for Kutchi patrons working with the hooked aari show a level of skill equal to that of the earlier courtly and export pieces. The flamboyant dado panels in the Aina Mahal in Bhuj and the glorious floral tent from the royal family of Dhrangadhra are masterpieces of the later period of Mochi embroidery, along with other virtuoso pieces such as the animal cover (jhool) and pichhwai in the TAPI collection. The superbly embroidered dado panels on the walls of the Aina Mahal in the royal palace at Bhuj, built around 1750, are certainly the product of local Mochi embroiderers. Their designs are an amalgam of Mughal-style tent panels (qanat), with flowering trees shown beneath a cusped arch, separated and bordered by floral meander patterns and embroideries made for export to Europe for use as wall- and bedhangings, which frequently show an exotic flowering tree rising from a rocky mound. The larger, squarer panels are in a more Mughal style, while the dado panels of narrower joined niches are closer to an adapted export style. Both decorative types would have already been familiar to the Mochi embroiderers. The British historian L.F. Rushbrook Williams evidently saw them in the first half of the 20th century as he describes the Hira Mahal as ‘panelled high’ with ‘exquisite Kutchi silk embroidery.’ The panels were covered in plastic and installed as a permanent part of the Aina Mahal display when the building was converted into a museum trust in about 1971. Prior to that, they were displayed and brought out only on special days (e.g. three days of Diwali) when members of the royal family performed a puja of the ‘dholiya’ (Maharao Lakhpatji’s bed) in Hira Mahal.

MOTORCYCLE DIARIES: HOMECOMING

December 5, 2023, 1:59 am

I strolled past the neighbouring stupas before alighting on the Baby Tiger for the most legendary leg of our Spiti expedition. I gave the valley and its people my deepest thanks for hosting me and nursing me back to health. Even though I was still running at a moderate temperature, today’s window was the only clear one we had to make a rain-free journey to monsoon-ridden Manali. And so, with a paracetamol and a half-eaten Yoghurt bar in my pocket, off I rode. The full moon slowly hid behind the Trans-Himalayan range to make way for the sun, and in Rangrik, I got to witness the spectacular sunrise from behind stark mountain peaks. Golden beams of light peeked through and illuminated the valley’s green fields, and as far as my eyes could see, Spiti was divided into fast-moving contrasts of the newly sunlit areas versus the others that were patiently waiting. Before attempting our passage via Kunzum, we halted for breakfast in Rangrik while basking in the morning sun. Mamma enjoyed her maggi noodles with less masala as I savoured a steaming cup of black tea. I needed all the energy there was to make it to Manali on the Baby Tiger, with or without my predestined falls. After all, I didn’t want to be that rider who loads her bike into the pickup at the slightest hint of inconvenience. I had come this far to ride with cautious abandon, and there was no way that I was backing down now.

The black tea and paracetamol worked wonders, and I had forgotten all about the flu by the time the ascent to Kunzum began. The gorgeous rivulets crisscrossed across meadows being grazed by horses and sheep. A few mountain goats and a large herd of cattle intercepted me and generously made way for the baby tiger. By now, the tarmac had bid my convoy farewell, and I had my traction control turned off. May the force be with me. Even though I had driven past Kunzum some five times already, the experience of riding into its prayer flag-paved entrance on a motorcycle felt overwhelming at a different level altogether. I had tears of joy inside my helmet-clad face, and long after I had stopped, I remained dazed in wonder. My mother insisted that I pose for a few pictures, and it took me a couple of minutes to get back to the ground. I was flying a flight of joyous euphoria, and the boy had never looked so glorious.

Ever since I was a little girl, I have enjoyed climbing trees. My heart would feel full with every ascending branch until I had reached the top. Then came bewilderment, because I had no idea how to come back down. Similar anguish confounded me as I grew conscious of the fact that the journey thus far had been a joyride compared to what awaited me. The descent from Kunzum had some sharp hairpin bends with a good amount of rubble, but I managed with slowed speed and confidence.

I felt some respite upon reaching Bathal, where I drank another cup of sweetened black tea and munched the remaining half of my snack bar. Onwards was the roughest patch there was, until Chhatru. I mentally prepared myself for a few falls. But through every water crossing, slush puddle, and rubble, Baby Tiger defied gravitational physics. I was beginning to yee-haw when I got carried away and rode over an island of sand and water, slightly off course from the main road. My accompanying drivers helped me steer back towards the Endeavour, and onward we went. This patch mostly required me to semi-stand on my bike, such that the intense bobbing of the rear wheel didn’t suspend my riding judgment. Plus, it felt easier on the rear section as well. My father’s batchmate from school had arranged a hot meal of rajma chawal in his picturesque farmhouse in Chhatru. Just when we thought we had ticked off a reasonable number of ‘world’s highest’ boards, we found another one, which said ‘world’s highest farm house’. I sure took some photos of Baby Tiger as he posed on the lawns of that estate.

Our last leg lay in Post-Chhatru, and right before the tarmac began, Gramphu’s rocky waterways compensated for the forthcoming road finesse. I kept halting every now and then to soak in the last of the Kunzum-sided landscape. A pang of nostalgia hit me when I realised that with every acceleration, I was drifting farther and farther away from Spiti. The excitement of journeying towards a cherished destination seldom matches up to the nostalgia of parting with it.

But for what it was worth, the sight of my two four-legged children waiting for me helped me rev up my engine and glide through the familiar Atal tunnel.

By the time we entered the gates of Urvashi’s Retreat, the apple trees were sun-kissed and the skies held up their azure hues. I patted my bike with as much affection and gratitude as my exhausted senses could muster, and even gave it an enduring hug. Cleo and Tsarina were elated to have us all back, and I had barely been back an hour before I connected my GoPro to the television.

My granny had to see what we had just experienced. In three days, it’ll be a month since this day of homecoming. Ever since, I have gone through my Spiti photographs and video footage numerous times. I even made a short film that comprised some of my favourite GoPro recordings. My devices’ wallpapers bear the Key Monastery shot that I took on the morning of Guru Purnima.

I do know that I will never have enough of this sacred land, not in this lifetime at least, but its constant calling to me year after year makes it a pursuit that I had never dreamt of, let alone thought of living through. The only way to get over a vacation hangover is to make way for the next. No wonder I am sketching out my Ladakh itinerary for September.

MOTORCYCLE DIARIES: PIN VALLEY

December 5, 2023, 1:59 am

Every morning from 8 onwards, the monks at Key gompa congregate at the main sanctum to chant their morning prayers while ingesting a frugal breakfast of sattu and butter tea. The vibrations and visual spectacle are highly recommended experiences that I was first initiated towards by Karanbir.

Eager to see the prayer meeting for herself, my mother was ready well before time in the morning. Even though we had reached half an hour before time, we were surprised to see the gompa flooded with monks and visitors alike. Confused and scratching my head at my miscalculation, I inquired with a smiling-faced monk standing next to me. Because today was Guru Purnima, several monks from around the region had arrived to convene this special prayer, which commenced an hour before the usual timing.

Struggling to find our spot on the monastery stairs, we sat near the railings and peeked inside for a while. Then, we headed up to see the gompa’s older sections and also to the iconic vantage point for many photographs with the tripod and self-timer.

Slightly peckish and desperate for our morning cup of coffee, we made our way to our one and only food destination yet again, Deyzor. Karanbir had been raving about how beautiful the Pin Valley was at this time of year, and given that it was one place that none of us had visited before, we raised collective excitement for the day’s expedition.

Backtracking a dozen kilometres back on the Kaza-Tabo road, we crossed over an unsuspecting bridge and entered a different valley altogether. Driving past the Pin river, we saw fluorescent specs of mustard flowers and velvety meadows dotted by indulgent cows and asses. Pink and purple flowers too sprouted through the foliage, and tiny rivulets trickled in their jovial celebration of mild monsoons. Several locals worked intensively in their lush green fields, which speckled the stark Pin Valley like glowing pieces of emerald. I opted to take over the steering wheel today so that Manojji could get a break and enjoy the views. Mesmerised by the unusual geological shapes of Pin Valley. We didn’t know how our three-hour excursion passed, and we were back in Deyzor for lunch. A dove into a plate of shakshouka and a coffee to shake off my afternoon laziness, and we all concurred that a nap would be a good idea. Back in Cheecham, we lazed around and then played a few rounds of Cluedo. I was beginning to develop a dry and nagging cough, but I dismissed it as an aftereffect of the dusty roads. Mylo also developed a cough shortly after, and we just went to bed after an early dinner. Afraid of passing on the bug to my already susceptible mother, I decided to stay the night in Mylo’s room, and in hindsight, that was a necessary precaution. Breathlessness, fever-stricken, and reverberating with an elevated pulse, the night was a mean one indeed. Both Mylo and I battled with heightened fevers that we hoped would be brought down with a tablet of paracetamol. To our dismay, the following morning was a struggle, and there was absolutely no way that we were proceeding with our plan to Losar.

I could barely pack since the slowest of movements was making me breathless. It was time for Baby Tiger to be put onto his trailer, and as sad as that made me, I knew I was in no shape to drive. We headed to the government hospital in Kaza, where the health workers took our Covid test, which was thankfully negative. Manojji too suffered from the same symptoms as us, and we were then made aware of a nasty virus making its rounds in Kaza. Due to its higher prevalence among minors, Kaza’s government school had been closed for a fortnight, and many locals reported having suffered from identical symptoms as us.

Karanbir reassured us that it would get better, and arranged us the fanciest home stay that stood bang opposite the town’s Shakya monastery. Fa-Ma homestay was hosted by the gregarious hostess Uma, who nursed us back to health over two long days of endless gargles, steam inhalations, naps and countless food deliveries from Deyzor. I mostly slept through this time, and when Mylo felt better, we played Monodeal with my viral-free mother.

Even though one hadn’t fully recovered by the night of July 15th, I reckoned that we make our journey the following day. As per most weather forecasts, 16th was the only day that offered clear skies and sunshine, a much-needed advantage for those making the arduous journey towards Manali. And so, I excitedly asked Mohanji to unload Baby Tiger from his cage and kitted up the following morning to make the most iconic journey of our trip.

Dolo 650 sufficed through the entire adventure, and even if I was still flu-stricken, I was too elated by the Trans-Himalayan vistas to pay attention to any form of illness. The beautiful road meandered through Rangrik, Losar, and Kyato as the full moon hid behind the mountains, making way for a brilliant sun that reigned over clear azure skies. It was time for homecoming.

SATRANGI: RECOGNISING THE MANY COLOURS OF LIFE

August 12, 2022, 6:08 am

As the founder of Royal Fables, a writer, and a communicator, I have always reserved a place for social impact missions in my agenda. Empowerment through handcraft work is my life’s raison d’être. As well as creating an inclusive, tolerant society where each of us gets a share of the voice. Hence, I was beyond thrilled when the dynamic Maharani of Baroda, Radhika Raje Gaekwad, suggested that we present Satrangi on the ramp on the opening night of our show in Ahmadabad. A ramp walked by 15 wonderful transgender people from the 250-strong LGBTQI community that lives in Baroda and now is lovingly adopted by this caring young royal who, with her family’s trust, Maharani Chimnabai Stree Udyogalaya, is standing for all the important and relevant issues concerning the women of her city. While issues like women’s safety, employment, and confidence building have been at the core of her NGO, she also embraced this very endearing community who were in deep distress during Covid. She joined

Lakshya Trust is the community working on the health and human rights of LGBTQI community

A ramp walk by 15 wonderful transgender people from the 250-strong LGBTQI community.

Lakshya Trust is a community working on the health and human rights of LGBTQI community.

Join hands with Lakshya Trust, which is a community-based organisation working on the health and human rights of LGBTQIA communities in Gujarat, Vadodara, Surat, and Rajkot. Founded by the globally acclaimed activist Prince Manvendra Gohil of Raj Pipla, the organisation also backs Garima Greh, which is a rescue and shelter home for transgender people managed by Lakshya Trust and supported by the Ministry of Social Justice and Empowerment, which focuses on providing basic food, shelter, and livelihood opportunities through mainstreaming trans issues with different stakeholders. In striking a very active partnership with Maharani Chimnabai Stree Udhyogalaya (MCSU), which started with the distribution of food supplies during the pandemic, Lakshya collaborated actively with this Baroda-based NGO for the provision of skill-building training, admission to academic institutions, and assistance in job placements for the transgender communities, and also as one of the co-hosts of Vadodara Pride!

“Satrangi is our LGBTQIA project that has close to 250 transgenders in vulnerable circumstances.” They have been so far neglected by both society and the government. Through our trust, we intend to take care of their essential requirements, identify their core problems, groom and train them for particular vocations, and integrate them into society by helping them find employment in those chosen vocations, “shared Radhika. Taking care of their mental well-being through free and confidential virtual counseling. MSCU also provides free and confidential online counselling to all in need. On the Royal Fables’ ramp, Radhika dressed fifteen transgender persons in the L V Palace’s collection of cotton, printed saris titled Naqashi. While Jaipur-based jewelry designer Namrata Singh adorned them with her signature collection of hand-crafted jewels. Radhika herself walking the ramp in stunning cotton, dual-toned sari, and Namrata’s vintage coin-inspired, embellished choker in gold. Applauding her for this path-breaking effort, Nawab Kazim Ali Khan of Rampur complimenting the Maharani and said, “ This is the first time in modern India that a woman belonging to a royal family as respected as Baroda has taken such a bold step towards creating an inclusive society.” We salute her for her forward-thinking, courageous endeavours.

THE KAZA MOTORCYCLE DIARIES

December 5, 2023, 1:59 am

I downed yet another Tsampa pancake with butter tea before heading towards Kaza. With the Spiti river on my left and the mighty Trans-Himalayan range overlooking my ride, the sun shone and intuitively hid behind the clouds, making it a dreamlike ride. By now, the Triumph Tiger 660 a.k.a. the Baby Tiger had become a reliable, almost protective travel companion. He covered up for my tiny fumbles as a rider and rode impeccably through loose gravel, water streams, and potholes. Even though his real merit lay over tarmac, not once did he betray me under his sports tourer demeanor. A futile hunt of off-road tyres across the country rendered me with a spare set of conventional road tyres, which was a huge respite amidst Spiti’s unforgiving tracks.

I had even installed crash guards, bearing in mind the dozen falls that I had anticipated between Bathal and Chhatru. I’d end each day’s ride mentally saying, ‘So far, no falls’, knowing that was bound to change soon. But I would soon discover the Baby Tiger’s sheer defiance of gravitational physics, the details of which I have saved for another part. Getting back to today’s ride, I was engulfed by the magic of crossing the Tabo bridge and gorged over Tabo’s scenic fields and the gigantic mountainous backdrops. The road broke up again, and as I rode past mounding ranges of piled-up loose gravel, admiring the Jenga skills at play, a few rocks crumbled down and across the road a few feet ahead of me.

I immediately braked to a halt and looked upwards, seeing a few more dusty crumbles hurl down. I used my feet to roll my bike backward, such that there was more safety buffer space between me and the rumbling tumble. A few seconds of silence prompted me to prepare and zip past this stretch. And in no time, it was all behind me. The accompanying Endeavour too made it through, and within a scenic hour, we had entered the less quiet town of Kaza. Without a second’s delay, we were making our way to our much-awaited dining destination, Hotel Deyzor. A personalised homestay run by riding and adventure veteran Karanbir Singh Bedi, Hotel Deyzor has a distinct authority in Spiti for its unmatched hospitality and lip-smacking food. Like an excited school girl, I led Karanbir to the Baby Tiger immediately after meeting him. After all, it was his recommendation that made me opt for this bike blindly, and he needed to see it! Karanbir’s approving nod mirrored what I had envisioned on my way to Kaza. Needless to add, the Baby Tiger was a sheer head turner and attracted many doting glances wherever it ventured.

My accompanying team’s stomachs were rumbling, and Milo had already ordered her favourite mango shake from the menu. I could well believe that it was Deyzor’s mango shake alone that inspired her to make this arduous journey, such was her dedication to that tall yellow glass of bliss that seemed to leave the mythical som ras behind. A mighty plate of Turkish eggs and a protein shake later, I blissfully mounted my steed to navigate to what would serve as our home for the next three days. Roughly forty minutes from Kaza past Key and Kibber, Cheecham was a rustic hamlet best known for the iconic Cheecham bridge and breathtaking vantage points. A Navy veteran turned adventurer, Mohit Gulia had set up a little piece of heaven at the tail end of Cheecham village, known to all as Tethys Himalayan Den. The latest talk of Spiti, Tethys set a new level of hospitality standards in Spiti, with its eclectic style and massive bay windows. Delicate whites against pastel pinks and bright teals, Tethys breathed the boutique into Spiti’s remoteness in the dreamiest way that one can imagine.

At this stage, I was slightly concerned about my mother, for we had escalated from Tabo, amongst Spiti’s lowest altitudes to Cheecham, one of its highest, in the matter of a few hours. Her saturation levels in Tabo had dipped slightly, but the sense of alarm voiced by our doctors back home is what worried us. Both Karanbir and Mohit reassured us of the normalcy of it, and cautious as I had promised my father to be, I ensured that my mother was inhaling frequent doses of oxygen from her cylinder. Being over-prepared in these matters is always a good idea, which is why I had sent Manoj ji to scout for a medical cylinder earlier in Kullu. An ex-pharmacist, I thought Manojji would be the best contender to make this preparation. He had laboriously trailed the tall silver repository of air all around Kullu, Rampur, Sangla, and Tabo, only to find out at the Kaza hospital that we weren’t odd in failing to fit in the modulator. The cylinder had been empty all along! But thanks to my Zen mother and the surplus tinier cylinders that we had carried, she had cruised through her first night in Cheecham, going light-headed solely because of how stunning the views had been. mental healthcare into action. Moreover, it is a small step towards decolonizing mental health practise by creating spaces that are accessible, collaborative, and cognizant of social realities, “she elaborates.

Returning to the opening paragraph of this feature, Saumya makes a very interesting point that largely challenges and expands the scope of the argument. She states, “Research evidence overwhelmingly suggests that poverty, stigma, and social marginalisation are all serious risk factors for mental health issues - indicating that, contrary to popular beliefs as well as Maslow’s theory, mental health issues are not first world problems/issues that only come to the surface once material and physiological needs are met. Mental health problems are consistently found to disproportionately impact the less affluent in society”.

Thus, Saumya’s two-pronged approach to broadening counselling access across India’s diverse population is indeed a trailblazer in its own right. Her story is also indicative of a wider contingent of educated youngsters broadening the scope of mental healthcare in India. Despite securing her pedagogical seat in distant lands, Saumya deliberately chooses to serve her remaining time in India as a counsellor to those in need. And for this reason amongst others, she is an inspiration to many other young aspirants across disciplines. Rajputana’s freshest advocate of accessible, culturally competent healthcare poignantly concludes, “Over time, I also became cognizant of some of the reasons for the mental health treatment gap in India, including significant social stigma, inadequate or inaccessible services, and low levels of public investment. I strongly believe that these challenges are reflective of the traditionally individualistic lens of psychology that has often neglected to take into account structural, social, and cultural factors in understanding and treating mental health issues, and has thus alienated many people in the developing world. Such learnings now motivate me to continue in this line of work and to do my bit to address the limitations I see within the field.

GLOBALLY ACCLAIMED ‘ROYAL FABLES’ RETURNS TO AHMEDABAD

August 5, 2022, 5:42 am

Royal Fables, a heritage platform that promotes royal India in all its glory, is all set to unveil its exposition in Ahmedabad in association with Digvijay Singh and BBG Royals and supported by luxury partners Sujhal, jewellery partner 7th Avenue, House of Marigold, and our associate sponsor BMW at Hyatt Vastrapur on 6 August 2022. The exposition will present art, fashion, textiles, and products made in leading palace studios across India. Besides, handpicked collections by leading designers and labels that keep the rich Indian hand-made tradition alive. Launching the exposition on August 5, 2022, with a welcome note from Anshu Khanna, Founder of Royal Fables, and an opening speech by Shri Uday Mahurkar Ji on the feisty Maratha women.

H.H MAHARANI RADHIKA RAJE

DIGVIJAY SINGH AND NIDHI SAH

KANWARANI KAMINI SINGH AND RAJKUMARI CHANDNI SINGH SEHORA

PRINCESS KRISHNA KUMARI OF PANNA

YUVRANI MEENAL SINGHDEO

NAWAB KAZIM ALI

A panel discussion on the legacy of luxury will be moderated by Safir Anand, IPR Lawyer, and Ruchika Mehta, Editor, Hello! India, and among the guests will be H.H. Maharani Radhika Raje Gaekwad, Khushboo Bagga, Rani Saheb Uma Raje Jadhav, Digvijay Singh, Nidhi Sah, and Brijeshwari Gohil. Buransh, a fashion show presented by Royal Fables, Digvijay Singh, and BBG, and Satrangi by Maharani Chimnabai Stree Udyogalaya, will begin with a royal fashion walk with royal scions and jewels by the House of Marigold, followed by dinner.

“Gujarat, to us, has always been a land of the kings and nobles, home to palatial palaces and royals who cherish their inheritance with great humility and commitment to the nation. We are truly excited to bring the Royal Fables Exposition to the heritage city of Ahmedabad again. As they say, the fable with Gujarat has only just begun,” says Anshu Khanna, Founder, Royal Fables. As a firm believer in promoting heritage, culture, arts and crafts, I am elated and proud to welcome Royal Fables again to the heritage city of Ahmedabad. I look forward to witnessing an exclusive array of arts and crafts nurtured by royal families and distinct brands of India,” says Khushboo Bagga, Director, Petal Foundation.

On the 6th, the exposition opens with a showcase of the finest handmade textiles, crafts, and art to be inaugurated by H.H. Maharani Radhika Raje of Gaekwad of Baroda and Princess Krishna Kumari of Panna. There will be talks organized at various intervals on topics such as Heritage and tourism conservation in Gujrat by Professor Mickey Desai and Khayati Singh, Sonkatch, matrimonial alliance, and their impact on royal cuisine by Rani Saheb Uma Raje Jhadav of Deobagh. Safir Anand, IPR Lawyer, in conversation with Yaduveer Bera, Hemendra Singh Rathore, and Brijeshwari Gohil on tangible and intangible heritage. This will be followed by a fashion show by Palace Karkhanas featuring Jaykirti, Rosetree, Yaduveer Singh Bera, Fateh Couture, and Hemendra Singh Rathore.

The list of participants is prolific and includes royal families from across the nation including H.H. Maharani Radhika Raje Gaekwad of Baroda, Rani Saheb Uma Raje Jhadav, Princess Diya Kumari foundation, Princess Krishna Kumari of Panna, Princess Nandini Singh of Jhabua, Nawab Kazim Ali Khan of Rampur, Katyaini Sinh Sanand, Rani Jaykirti Singh Baria, Kanwarani Kamini Singh, and Chandni Singh Seohara, Preeti Singh Rathore, Yuvrani Meenal Singh Deo of Dhenkanal, Madhulika Radiant, Nawabzadi Aaliya Babi Balasinore, Namrata Singh, Kunwar Yaduveer Singh Bera, Kunwar Hemendra Singh Rathore, Digvijay Singh, and Nidhi Sah.

MOTORCYCLE DIARIES: TABO MONASTERY

December 5, 2023, 1:59 am

The quaint and ancient site of Tabo lies at 10,800 feet, which is amongst the lowest elevations in all of the Spiti Valley. Home to what is also known as the Himalayan Ajanta, the Tabo monastery was founded by Rinchen Zangpo in 996 CE on behalf of the King of Guge, a kingdom based in the Western Himalayan Region. Tabo is known for being the oldest continuously operating Buddhist monastery in India as well as the Himalayas. In other words, despite the vagaries and strifes of time, Tabo was never abandoned or isolated. Comprising nine temples and gompas, the monastery’s incredible sculptures, wall paintings, and thangkas exhibit an ancient aura. The town of Tabo itself takes one back to a forgotten era. Whilst photography remains prohibited in the main sanctum, torches are available to help visitors discern the magnificent artistry put into the enormous walls of the monastery. A whole range of Bodhisattvas horizontally span across the main sanctum, and the rear end of it is adorned with intricate artwork that left me awestruck even on my fourth visit. Due to its rare archaeological and historical value, Tabo Monastery is maintained by the Architectural Survey of India. The monasteries at Dankar and Key all fall within the Gelukpa order of Buddhism and are important venues where His Holiness the Dalai Lama held the Kalachakra initiations. The first Kalachakra initiation held by His Holiness in Tabo attracted around 10,000 participants. Mystic breezes and absolute serenity have accorded it a special place in my Spitian memories. The Spiti river flowing alongside it, the mysterious art caves overlooking the town from one side, and monks playing cricket on the town’s helipad, all make for unique sights to behold. The Shanti Stupa, a modern addition to the ancient monastic complex, makes for a blend as seamless as eternity itself. Strolling past the complex during my first visit back in 2017, I chanced upon a charming little cafe run by a local family. Thanks to them, I experienced the finest pancakes ever made, out of tsampa flour and drizzled with honey and mangoes. A perfect pairing with butter tea for the odd palate, this became a meal to savour and devour on every visit to Tabo in the coming years. And as memorable as this culinary delight is the little girl who dwells in the adjoining homestay. Tenzin Pamsom is now all of 10 years old, and Tenzin is a bright young girl full of beans and stories. The cafe owner’s niece, who stays with her uncle and grandmother to pursue her schooling in Tabo over her parental village of Mane, Pamsom, is another important highlight of my Tabo sojourn. During every subsequent visit, I am to reassure Pamsom that I met her on a previous visit by citing photographic proof, lest she dismisses my claims. After attesting to the photographs that I dish out from my camera archives, Pamsom looks a little more trusting of this stranger amidst the hundreds that stop by at this cafe year after year. This time around, Pamsom animatedly tells us a story that a recent visitor to their homestay told her—the legend of Yasho Masi. An epic tale that sounded much like the crucifixion and resurrection of Jesus Christ (minus Pamsom’s filmy songs that she had attached to it), I wasn’t the least bit surprised when the little storyteller made me search for Yasho Masi on Google. When it showed us results of some female actor look-alikes of the K Series, Pamsom bemusedly dismissed them and Google for not knowing enough. We rewarded her entertaining efforts with a hamper containing her favourite chocolates and snacks, the sight of which made her eyes light up.

The Tabo Monastery.

She promised us that she would share her treats with her older sister. Just then, her grandmother peeked out of her bedroom window and summoned Pamsom to run some errands. Pamsom ran along and bade us farewell until next time.

We walked some more through Tabo town, and from a previous visit, I remembered stumbling upon an entire batch of young monks outside the monastic academy near Shanti Stupa late in the evening. They seemed to have been revising some verses under the supervision of a teacher. Their combined chanting made me and my friends just close our eyes and listen. After a moment of doing so, when we planned on making a move, we spotted a naughtier young monk switch off all the lights, sprinting from switchboard to switchboard while his teacher chased him amongst giggles from the others. A maroon-robed frenzy of such pure innocence warmed our hearts, and we smiled our way back to our hotel rooms.

A PATISSERIE AND CAFE IN JAIPUR OFFERING INDIAN AND EUROPEAN DISHES

July 29, 2022, 3:51 pm

It is the hippest space in Jaipur, the patisserie and café that “everyone goes to” and “hangs out at”. Dzurt Patisserie is not just known for its divine sweets and savouries, but also for its stunning interiors. The brainchild of a young, beautiful and accomplished Rajput girl, Tejasvi Chandela, Dzurt is delightfully European. Despite being tucked away in Rajasthan’s heritage city, known for its obsession with flourescent colours, pronounced stripes and vibrant prints, Dzurt instead

The Dzurt Patisserie and Cafe.Bakery items on display.Tejasvi cooking with Chef Garry Mehigan.Chef Tejasvi Chandela.

The café is set in a pleasing tone of mint green, interspersed with wall papers reminsicent of the Raj. The café’s atmosphere is like Tejasvi’s creative playground. Where she draws inspiration from her culinary legacy, turning it into turtle to relive the memsaab era of cakes and scones. A chef whose ancestral roots go back to Bilaspur in Himachal and Bagseu close to Bikaner, Tejasvi is able to combine the richness of her legacy with the authentic French, Italian, and English recipes of pastries and savouries. “No one knows their breads better than the French and their pastas better than the Italians,” she smiles. Reliving the era of Manchester florals and colonial raj, when delicately hand painted images of hydrangeas, roses, lilies, marigolds, and dahlias personified elegance and beauty in every format, she also recently launched a line of tableware, porcelain, linen, and home accessories that she calls Wisteria. Each piece, “rekindles the refinement of families like ours who were equally exposed to the finest in Indian and European art influences.” “Each of these pieces are like timeless buds for patrons of craft to pluck.Educated and trained by some of the best schools in the world, Tejasvi runs Dzurt Patisserie & Cafe and All Things. She learnt the art from baking schools in Paris and Barcelona and also worked in KL, Malaysia for a year to explore the local food and learn more about it. As her way of giving back, she each year travels to offer baking classes around the world. “It is my way of going on a discovery of local foods and flavours.” Tejasvi has her own YouTube channel as well as a studio kitchen to teach the art of baking and has been on Masters of Taste season 2 with legendary chef Mehigan.

Young, Tejasvi shares her journey with food and how her cooking is closely linked to her Rajput roots. “I suppose the reason why I chose this career is because I’ve grown up listening to stories of my ancestors and the various things they would cook. I come from a Rajput family.

My ancestral roots are from Bilaspur Himachal Pradesh and my maternal family is from Bagseu which is close to Bikaner. As a child I was always mesmerised by my nana and watching his passion towards outdoor cooking made me want to do the same. I used to hear my nana tell us stories as kids about his grandparents.

Their hunting stories would always catch my interest. I would love to know about the way they would make khad khargosh by digging a pit. Or how junglee maas was made more often on hunting trips because they had to carry ingredients with a higher shelf life and low water content such as garlic pods, ghee, dry red chillies, salt and ofcourse the game meat they would hunt.

I love outdoor cooking now and I did make khad murg for chef Gary Mehigan (master chef Australia judge) when I aired on an episode with him on his show masters of taste season 2, it’s a great one pot meal that brings the family together on the dining table to share a piece of history together. My winter time is best spent making lal maas and junglee maas on a chulha in my garden for my family.

“The reason why I chose this career is because I’ve grown up listening to stories of my ancestors and the various things they would cook. I come from a Rajput family. My ancestral roots are from Bilaspur Himachal Pradesh and my maternal family is from Bagseu which is close to Bikaner”.

THE SANGLA VALLEY MOTORCYCLE DIARIES

December 5, 2023, 1:59 am

Well-rested and eager to inch closer to my special place, I rode out of the Padam Palace gates towards the district of Kinnaur. For most of the way, I had the mighty Sutlej lend me her company. Deep mountainous arches engulfed the highway, a sight and experience that didn’t get old despite the four-hour-long journey. The gorgeous apple orchards of Kinnaur carpeted the valley with different hues of green, and there was a drizzle in the air. Looking towards the blue skies over Sangla, I rode with the hope of escaping a heavy downpour and mostly managed. Taking over from the Sutlej was the power-packed Baspa river and Jindal Steel Works’ various hydroelectric enterprises. A momentous adrenaline rush of smooth, broad roads ended at Karrcham, which is where one makes an inward turn towards Sangla.

A hoarding outside Chitkul village.A bird’s eye view of the Sangla Valley.

A narrow road with several hairpin bends opens up to increasingly gorgeous vistas of the valley in between. In some parts where the road caved in deeply, there were tiny shrines of Mahadev and Hanuman. On other cliff sides, I found bright prayer flags fluttering about, further dramatising the ascent. A prominent feature of the Kinnaur valley, apart from its apple orchards, is the stunning Rampuri cap, donned by its women. Unlike their Kullu counterparts, who’d rather wear a scarf tied tautly around their heads, Kinnauri women carry out the Rampuri cap look with greater finesse than their menfolk, and most frequently call for a second glance. Children roamed about the streets, waving and cheering for the lone motorcyclist. Others shouted out for chocolates, and the uneven roads called for my undivided attention. With a stupa there and a homestay there, Sangla still felt remotely placed for the amount of popularity it garnered amongst tourists. Possibly because of its remoteness?

Another 10 odd kilometres ahead of Sangla, on the same road, was where the village of Batseri stood. Known for the Banjara Lodge and Camps, Batseri also has a more recent hotel development, titled Hotel Batseri. Surrounded by apple orchards and offering a stellar view of the Baspa river and the mighty Himalayas, this was the dwelling of my choice in the Sangla valley. Neat, clean, and functional rooms, good food, and an evening bonfire are all that one needs en route to a circuit with more basic accommodation lying ahead. After freshening up, my trio decided to take a drive up to Chitkul, India’s last village before the Tibet (now China) border. On another surreal drive through a village called Rakkcham, the road to Chitkul opened up to some exceptional mountainous formations, pine groves, and small streams running in between. One could easily be mistaken for this part of Himachal to be somewhere in Kashmir; that’s how dreamlike it is. The rain gently sprayed across our windscreen, and I was glad to have chosen against riding my bike up here. Crossing the sleepier town of Chitkul, with a few tea stalls and home stays mushroomed on either side of the road, we drove right up to the army check post and made a U-turn from there. Some jawans curiously looked up to see the intent of this RJ21 Endeavour, and I wondered if we had made them unzip their binoculars. But on a second thought, they are prone to being habituated to enthusiastic tourists who do the same thing multiple times a day, and they were probably just discerning the car model, especially since its previous owner had accessorised it to gather the demeanour of a Hummer! After a few enthu photographs near the ‘India’s Last Village’ hoardings, we drove back to Batseri and admired the dramatic evening skies. That night, we sat around the bonfire in Sangla’s crisp air, ate a sumptuous dinner, and drifted into a deep sleep. I left my gimbal on a tripod on the time lapse setting, and woke up to the most gorgeous 1.30-minute-long video, with the clouds doing a special ballet across overcast skies. And just like that, we geared up to leave for our first pit stop in Spiti-Tabo. The oncoming ride would be one of nearly 200 kilometres and span 6.5 hours. In between, I rode on stellar roads at first, but then rugged dirt tracks later, which even required me to make my first water stream crossing at Malling Nala With just one boot wet and the bike upright, I was rather pleased with myself for pulling off this impromptu stunt. All along, I could not help but repeatedly switch on my GoPro to record the breathtaking vistas of Nako and Sumdo. The Spiti river proved to be an equally gorgeous sequel to the Sutlej and Baspa, and by tea time, we had arrived at the sparrow-chirping monastic town of Tabo.

This is the last and concluding part of the story.

EXHIBITION HIGHLIGHTS THE FEMININE FORM AS CELEBRATED THROUGH AGES

July 22, 2022, 7:34 am

Overlooking the main artery of Patna, the grand Bailey Road, stands the magnificent Bihar Museum. The Bihar Museum, designed by the world-renowned architect Fumihoko Maki as part of Bihar Chief Minister Nitesh Kumar‘s vision for the development of civil society, is an iconic landmark that holds within it the many layers of the second historical urbanisation of India.

Front view of Bihar Museum, Patna.Dr Alka PandeBihar Museum, Patna.

Dr Alka Pande, art historian, author, member of the Bihar Museum Advisory, and Chief Curator of Women and Deities, shares the sheer historic richness of the museum and offers a glimpse into the forthcoming exhibition Women & Deities that will be unveiled on Foundation Day, 7th August. The centre of Imperial power, Patna, or Pataliputra, as parts of it were known in ancient India, continues to carry the grand condition of art, culture, and governance. Having been closely associated with the Bihar Museum, one of the finest examples of a giant home of culture, I would like to share an exhibition that I am curating, Women and Deities in the Bihar Museum. Consisting of 174 objects from antiquity, the mediaeval period, and contemporary times, the exhibition is a tribute to 2000 years of the representation of women through the ages. Nowhere in the world has a museum opened the coffers of its reserve collection to the public on such a scale. 166 objects consisting of Terracotta, bronze, stone, and paintings.

The Director General and Advisor to the Bihar Museum, Anjani Kumar Singh, as Chief Secretary of the State, single-handedly ensured the realisation of the dream and vision of the Chief Minister. Ever since Singh took over as the Director General in March of 2022, he has been populating the Bihar Museum with a steady and inventive scheme of programming. From art appreciation courses to exhibitions of artists from Bihar to now, this immense and significant exhibition on Women and Deities, “I believe that a magnificent building is not sufficient to keep alive the culture and heritage of a state. It has to be continually nurtured and fed with dynamic programming to keep it alive and vibrant. “In keeping with this philosophy, Singh is continually injecting the museum with a host of activities. A continuous hustle and bustle is seen the minute you enter the cool environs of this eco-sustainable building. The historical galleries, which showcase the wonders of Bihar, and the evolving Diaspora Gallery are a testament to the wonder that is Bihar.

The words of the First President of India are prophetic. If you know the history of Bihar, then you know the history of India. And these are the words that greet you the minute you enter the Orientation gallery. The museum cafe enriches the museum’s cultural ethos through its finger-licking array of the traditional cuisine of Bihar. The Museum Gift Shop, run by the Upendra Maharathi Institute, creates the most beautiful objects of art in a way that documents the intangible heritage of Bihar. The women and deities in the Bihar Museum are unique and significant in several ways. It shows the timeline of artistic representation of women through the last 2000 years and through these exquisitely sculpted figurines and paintings, the beauty, grace, and cultural identity of the women of the region.

The four materials which form the collection are also particular to the state. Terracotta and polished stone as materials were very much part of the Mauryan period, which flourished in and around Magadha and Pataliputra. The rich polish imparted to the Yakshi, her ornamentation, hairstyle, facial expression, and alluring smile add to the immense charm of the Didarganj Yakshi, the jewel in the collection of the Bihar Museum, not to forget the exquisite art by way of bronzes from Nalanda and Kurkihar, which flourished during the Pala period. In fact, two extremely significant things started in Bihar. In Vaishali where the first republic or oligarchy emerged, and Rajgarhia, where the foundations of the monarchy developed. The more I visit Bihar, the more I discover about the wonder that is Bihar and therefore India. My curatorial direction for this exhibition stems from years of my engagement with ancient Indian art history, culture, and heritage. It attempts to show the many manifestations of women in different materials, through different periods in time, and through different stylistic attributes.

The range of women in the arts of India spans a large cross-section of Indian society and culture. From princesses to heroines, from goddesses to devotees, the many forms and manifestations of the feminine form are celebrated in the exhibition. So much can be deduced and understood about the different aspects of Indian art, culture, and polity. Each artwork becomes a cultural bearer of the time and age in which it was created. I have dedicated this exhibition to the women of Bihar.

MOTORCYCLE DIARIES: RAMPUR BUSHAHR

December 5, 2023, 1:59 am

I call my annual trip to the Spiti Valley my pilgrimage. The surreal landscapes, starlit night skies, and stark beauty of Spiti make their celestial calling to me year after year, and I cannot resist but succumb, surrender and embrace the voyage. Traversing through what was once known as ‘The Forbidden Valley’ calls for meditation of its own accord, and the divine echoes in the most ordinary nooks. My first encounter with this magical land took place on my 25th birthday, a time when all I needed was to be engulfed in Spiti’s calming embrace. Much of my life was running amok, and I needed a place to keep me grounded and assure me that I was safe and worthy. Spiti was it.

MachhkandiPadam Palace, Rampur Bushahr.

After three over-landing expeditions to Spiti in a 4-wheel drive, I reckoned it was time to kickstart my 30th year quite literally with a 2-wheel ride through this year’s pilgrimage. For the sake of general consensus, I was more than willing to have a backup vehicle follow me, and my long aspiring mother accompany me in another SUV with my doting partner in crime, Mylo, and our good old driver, Manoj Ji.

Given the familial concerns around my mother’s health, Mylo and I strategically planned a laid-back circuit to Spiti via Rampur Bushahr and Sangla. We kept the dreadfully bumpy journey back to Manali for the last day when the idea of heading back to our own beds and bathrooms at Urvashi’s Retreat was a critical booster of morale. So here we are, on the first leg of our Spiti sojourn, and my beloved pilgrimage.

Experiencing my pilgrimage on two wheels (and a rather competent ride indeed) sums up a feeling that I am still processing beyond words. All I can say for now is, that I fully agree with the saying, ‘the Soul travels on two wheels. Just when I thought choosing the right motorcycle was the beginning and end of my pre-trip pursuit, I was struck by a series of contradictory pieces of advice, given by none other than my veteran motorcyclist friends. The right riding kit, helmet, spare tires, motorcycle accessories, crash guards, and WD 40 oil topped the seemingly finite list. Just then, a doting uncle of mine sprung a birthday surprise at me after a secret co-op with Mylo. It was the iconic GoPro Hero 9 camera along with a helmet mount. This thoughtful gift ignited the travelogue bug in my head. Going beyond my DSLR and tripod kit that I had sincerely packed, it was also time to document this pilgrimage more meticulously, as an ode to my uncle who spoils me rotten, along with all those who are yet to experience the unique wonders of Spiti.

This article marks the first of (hopefully) many subsequent parts that I will be able to pin down along the course of my travels to Spiti. The first stop, as I mentioned earlier, was the picturesque town of Rampur Bushahr, a four-hour drive from my parent’s house in the Tirthan valley. Upon crossing the scenic alpine village of Shojha, where I spent a great part of my childhood, we crossed the threshold of Jalori pass. After that, the commercial hub of Anni led us past the Sutlej to Rampur Bushahr.

An erstwhile princely state situated at 3,350 feet above sea level, Rampur Bushahr is best known for the astounding legacy of the late Raja Virbhadra Singhji. A leader and visionary of unparalleled feet, Raja sahib was a legend second to none. His exceptional service for Himachal Pradesh and its people remains immortally inscribed onto a million hearts. Raja sahib’s legacy is carried on by his wife Rajmata Pratibha Singhji, who currently stands at the helm of the State Congress Committee as its honourable president. His son, Vikramaditya Singh is a Member of the Himachal Pradesh Legislative Assembly and commands an urgent voice amidst India’s Youth Congress contingent.

The Rampur Bushahr family, especially their daughter, Aprajita Kumari, and son-in-law Angad Singh were ever so kind to extend to us their heritage home, the Nau Nabh Heritage as our trip’s first stop. Situated in the annex of Padam Palace, the Rampur Bushahr family’s winter palace, Nau Nabh Heritage is a quaint and charming hospitality venture started by Bushahrs.

One cannot help but gasp in admiration every time they peek out of their room window, to see the commanding vista of Padam Palace and its gothic domes, its palatial garden cantered around a fountain, and not the very least my favorite gazebo Machhkandi, which is like none other than I have ever seen. Established by Rampur Bushahr’s 122nd Raja Padam Singhji back in 1919, Padam Palace took 6 long years before attaining completion. The unique venue of Machhkandi is reminiscent of the place where the Raja held meetings with his people.

Without wasting even an hour of daylight since our arrival, our entourage made a hasty departure to seek the blessings of Maa Bhima Kali, Rampur Bushahr’s presiding deity or kuldevi. An hour-long drive past Jakhri, the windy trails of Sarahan guided us to one of the most picturesque and well-maintained temple complexes. Maa Bhima Kali’s temple is believed to be over 800 years old, with the main sanctum resting upon many flights of stairs. Accompanied by several other deities such as Shiva and Narsingha at her entrance, Maa Bhima Kali’s aura, combined with the heavenly landscape around her made for an unforgettable experience.

With only so much to be seen during our brief retreat at Rampur Bushahr, I most certainly look forward to frequenting it in the colder months with more time in my hands. The following morning after a sumptuous breakfast, we made way for our next stop at Sangla, with a sweet aftertaste in our mouths. Rampur Bushahr, its scenic beauty, and large-hearted people surely made for an auspicious beginning to this year’s pilgrimage. If this special destination beckons you, be sure to realize that you must be special for it to be so.

This is the first part of the story.

DRAWING INSPIRATION FROM INDIA’S MAJESTIC FORTS AND PALACES

July 15, 2022, 6:48 am

India is home to some of the most magnificent forts and palaces in the world. Their architecture and attention to detail are unparalleled, and we draw a lot of inspiration for our brand ethos from the architectural history, wall paintings, and stories associated with these magnificent structures. To celebrate Palace Day on 19 July, brought to India by the Centre for Historic Houses, Royal Fables brings you a collection of quaint stories about the Indian monarchy that testify to those glorious times.

The Laxmi Vilas Palace.

The Mysore throne.

Gundalao Lake, Kishangarh.

GANGAJALI: MAHARAJA SAWAI MADHO SINGH II; HIS WATER GOES WHERE HE GOES

The former King of Jaipur, Maharaja Sawai Madho Singh II, entered the Guinness Book of World Records when he had two enormous sterling silver vessels, the largest in the world, created to carry “Ganga Jal” on his travels to England in 1902 to attend Edward VII’s coronation. He was a devout Hindu ruler who did not consider European water fit for drinking and was aware that he would also require Ganges water to perform religious ceremonies in a foreign land, as orthodox Hindus were not permitted to cross the ocean to reach Europe at the time.

Between 1894 and 1896, these vessels were built over a two-year period and were shaped using a total of 14,000 silver coins. They had the capacity to hold 4000 litres of holy water and weighed 345 kilos, and the unique feature of these vessels is that soldering sections together was avoided.

The Maharaja paid travel agency Thomas Cook Rs 1.5 million (Rs 750 million in today’s value) to charter a brand-new ship on which beef had never been consumed. Six luxurious suites were installed on the ship for the family deity, members of the group, and himself. The SS Olympia set sail from Bombay with 132 servants, a retinue of Hindu priests, over 600 pieces of luggage, and three urns carrying 2,700 gallons of holy water. When the ship encountered stormy waters near Aden, Madho Singh, after consulting with a priest on board, ordered that one of the urns be thrown overboard to appease Lord Varuna. The voyage ended without further disruptions, and the British were taken aback by the sight of such massive silver jars. According to Jaipur chroniclers, King Edward VII personally visited the maharaja’s camp to view the two jars, which can be seen at the Diwan-i-Khas of City Palace in Jaipur even today.

QAISAR BAGH: EMPEROR’S GARDEN

Wajid Ali Shah, the last ruler of the kingdom of Awadh, was a great connoisseur of art in all its forms, and his palace reflected that innate personality. He began building the Qaisar Bagh as soon as he ascended the throne in 1847. It was located in the southeast corner of the Chattar Manzil palace, and he envisioned a palace complex that would be a paradise on earth, complete with large gardens that would be the ideal setting for dance, drama, and poetry readings, and is widely credited with the revival of Kathak as a major form of classical Indian dance. One of his biggest contributions was the development of Pari Khana, a school for music and dance that employed 180 female artists, usually drawn from the families of courtesans, dedicated to the promotion of music and dance. He began to stage his magnificent Rahas (a personalized name for Rasleela) full of sensuous poetry, his own lyrical compositions, and glamorous Kathak dances.

The palace is adorned with magnificent pillars, banisters, Hindu umbrellas, lanterns, and Moorish minarets. European-style gilt crowns and statues complement the Mughal-style pavilions. The palace had separate chambers for the royal ladies, in keeping with era traditions, and a majestic 12-door white stone building also stands in the center of the palace.

GUNDALAO LAKE: MAN-MADE LAKE IN KISHANGARH

Gundalao Lake is situated between Purana Sheher’s old city and Madanganj’s new city. The tranquil water flowing in front of the Phool Mahal Palace refreshes, soothes, and calms the environment. This is a man-made lake built by Rao Gunda between 1460 and 1500, 100 to 150 years before Kishangarh was founded.

According to a popular legend, Rao Gunda sacrificed his son to the lake due to scarcity of water, after which it rained heavily, and once, when the pond was full, his son was seen floating on a matka (earthen pot).

This man-made lake is the soul of Kishangarh’s Phool Mahal palace and has served as inspiration for a number of famous Kishangarh miniature artists, including Nihal Chand, and can be seen in many 17th-century paintings. Even today, its setting and myths serve as inspiration for Kishangarh painters working in the traditional style of the Kishangarh school of painting on paper, cloth, wood, marble, and other surfaces.

LAKSHMI VILAS PALACE: GRANDEUR USING INDO-SARACENIC ARCHITECTURE

Vadodara is home to one of the world’s largest palaces, the Laxmi Vilas Palace, which is four times the size of Buckingham Palace and is the largest private residence ever built, spanning over 500 acres.

The most impressive Raj-era palace in Gujarat, its elaborate interiors feature well-preserved mosaics, chandeliers, and artworks, as well as a large collection of weaponry and art. The palace is adorned with paintings by the famous artist Raja Ravi Verma, who was specially commissioned by the then Maharaja of Baroda. It is set in sprawling park-like grounds that include a golf course. The Navlakhi stepwell on the premises is a window into the ancient water resource system built by kings to overcome Gujarat’s parched lands. The LVP Banquets & Conventions, Moti Bagh Palace, and the Maharaja Fateh Singh Museum are also part of the complex.

It was built in 1890 during the reign of Maharaja Sayajirao Gaekwad III, and it exemplifies the magnificent artistry of Indo-Saracenic architecture, a revivalist architectural style popular in India in the late nineteenth century, particularly in public and government buildings in the British Raj

and princely state rulers’ palaces. It borrowed stylistic and decorative elements from native Indo-Islamic architecture, particularly Mughal architecture, which the British considered the classic Indian style, and, less frequently, Hindu temple architecture. The basic layout and structure of the buildings were similar to those of other revivalist styles, such as Gothic revival and Neo-Classical, with specific Indian features and decoration added. The domes, minarets, and arches merged Gothic, Muslim, and Hindu elements. Charles Mant was the principal architect, and he and his team spent over 12 years building this amazing piece of architecture.

MYSORE THRONE: BEJEWELLED ROYAL SEAT

The Golden Throne, also known as Chinnada Simhasana, was the royal throne of the rulers of Mysore and is one of the palace’s main attractions. It is only open to the public during the Dusshera festival, and the rest of the time it is disassembled and stored in the palace’s safe lockers. The throne is made of fig wood and is adorned with ivory plaques. It was adorned with jewellery, gold, precious stones, and silver figurines, and the throne was made with approximately 280 kilos of gold. There are four levels of the decorative tiers of the throne which represent the four aims of human life, that is, Kama (pleasure), Artha (Prosperity), Dharma (Righteousness), and Moksha (Liberation).

The origin of the golden throne is shrouded in mystery, with various legends telling us different stories about its existence. The throne, according to legend, belonged to the Pandavas of the Mahabharata and was located in Hastinapura. Kampilaraya moved the throne from Hastinapura to Penugonda, now in Andhra Pradesh, and buried it. In 1336 AD, Vidyaranya, the royal preceptor of the Vijayanagar kings, showed Harihara I, one of the Vijayanagar empire’s founders, the location of the throne’s burial. He was given the throne by the governor, Srirangaraya, in 1609, and ascended to the throne in 1610. Another theory holds that around 1700, the Mughal emperor Aurangzeb bestowed the throne on Chikkadevaraja Wadiyar.

The throne is also said to be cursed by the former queen, Queen Alamelamma, who jumped into the river Kaveri, prior to which she cursed that Talakadu becomes a barren land, Malangi turn into a whirlpool, and may Mysore kings never beget children.” This actually came true, and 400 years since, the Wadiyar dynasty never had any children for alternate generations.

The gem-studded Golden Throne has been put on public display inside the Mysore Palace only during Dusshera.

HERE IS HOW TO GET THE MAHARANI LOOK

July 1, 2022, 7:17 am

Of the many styles and signature elements that have contributed to making the Maharani look eternal, the author lists four seamless stories that you can imbibe to look like a blue-blooded beauty.

Maharani Gayatri Devi of Jaipur.Poshak by Mangalmayi.Aad neckpiece by Kanak Kriti jewels.Princess Maanvi Kumari of Jobat.Ambika Raje Ghorpade of SandurPrincess Nandini Singh of Jhabua wearing Justchiffons cutworm saree.

Maharani Indira Devi of Cooch Behar.

Maharanis from the erstwhile princely states of India have never failed to inspire and set unforgettable trends with their fashion choices. Whether it’s adorning jewels that are so expensive that only a few can afford them, converting Chantilly lace and printed floral chiffons imported from France into saris etched with vintage borders, or wearing a velvet cape embellished with the finest beading and embroidery crafted for them in their personal palace ateliers by European seamstresses, Indeed, women like Maharani Gayatri Devi of Jaipur, her mother Indira Devi of Cooch Behar, the beautiful Princess Niloufer of Hyderabad and the statuesque Rafat Zamani Begum of Rampur were eternal style icons, to say the least.

Of the many styles and signature elements that have contributed to making the Maharani look eternal, fashion stylist Ayra Imam lists four seamless stories that you can imbibe to look like a blue-blooded beauty.

PEARLY TALES

Jewels have been an integral part of the royal legacy. One cannot imagine scions of princely India stepping into their Durbars without exquisite jewels to add to their persona. While there have been numerous jewels, pearls have been fundamental to their adornment, leading them to be one of the most popularised and often worn gems by many royals since time immemorial.

Maharani Indira Devi of Cooch Behar was one such fanatic of pearls. A staple for her, she would pair her everyday sarees with a string of pearls. Her favourite was a simple two-or three-layer string of pearls. She was the only daughter of Maharaji Sayaji Rao and had grown up seeing her mother, Maharani Chimnabai II, wear pearls over her nine yards of Navasari in Chander weaves.

Worn simply or extravagantly, pearls have the opulent look needed to finish any look perfectly!

Ambika Raje Ghorpade, a Sandur sari influencer and royal, wears her precious pearls with an exquisite printed sari from The Silk Story to recreate her look. Try her look to feel an instant rush of regalia.

CHIFFONS

Chiffon has been a beautiful, translucent, and flowy fabric. It has been a classic style in the royal household. Women of Rajput ancestry wore chiffon every day, whether married in tribal Jhabua, freezing Kashmir, or to a family living in the silk belt of VIjaynagaram.

popularised by Maharani Gayatri Devi, who kept the tradition alive and wore chiffon saris on a regular basis. This royal classic style also inspired women from the upper echelons of North Indian society. Whilst we all know about floral saris, I would recommend you get inspired by this stunning embroidered chiffon sari by Just Chiffons, worn by Princess Maanvi Kumari of Jobat.

POSHAKS

The Rajputs have a rich heritage, culture, and history that is still alive to this day. The attire worn by Rajput brides and women at weddings is called a poshak. It’s a four-piece outfit that includes a body-fitting, backless Kanchi that doubles as a bustier, a loose-fitting kurti, a square-shaped odhni, and frilled, embroidered lehengas. An, intricately embroidered garment, wearing it is a tedious process that requires inherent craftsmanship.

Poshaks come in different design variations with Aari, zardozi, cutwork, Kundan work, Kalkatti work, Gota Patti work, etc. The most respected postal maker in Jaipur remains Mangalmayi by Sandeep Burad, a textile revivalist who has dressed hundreds of royal princesses on their special day.

AAD

Rajasthan is known for its traditional jewellery that combines various techniques of making. Be it intricate jadaus that are hand painted beautifully, or the meenakari technique, the art of inlay. However, one iconic piece of jewellery worn by royal women is the Aad, a necklace worn around a bride’s slender neck.

Made from the magnificent combination of Kundan and pearls, it is a form of necklace around the high neck.

Rajasthani aads appear in different varieties, including jadau, kundan, meena, and marwadi. Plus, there is the desi aad, which is clasped with a woven red, green, yellow, and pink cheeda (small pearls) in a multi-layer motif incorporating gold and silver threading.

The Aad by Kanak Kriti Jewels, a brand founded by Vibha Shekhawat, are possibly the most stunning pieces. especially when rendered in partaash ka kaam, an authentic and intricate gold setting technique that has been lovingly restored by this Rajput designer.

Get on the royal train and follow these trends to bring out the princess in you every day.

HERE IS HOW TO GET THE MAHARANI LOOK

July 1, 2022, 7:17 am

Of the many styles and signature elements that have contributed to making the Maharani look eternal, the author lists four seamless stories that you can imbibe to look like a blue-blooded beauty.

Maharani Indira Devi of Cooch Behar.

PEARLY TALES

Worn simply or extravagantly, pearls have the opulent look needed to finish any look perfectly!

CHIFFONS

POSHAKS

AAD

Made from the magnificent combination of Kundan and pearls, it is a form of necklace around the high neck.

Get on the royal train and follow these trends to bring out the princess in you every day.

Bonjour, monsieur, it’s Ghoomar time at Cannes

December 5, 2023, 1:59 am

You ought to be living under a rock if you find yourself unaware of the Cannes film festival that takes place on the French Riviera annually. The Festival de Cannes is no “ordinary soiree”. It is a magnum opus that draws world-class artists, filmmakers, patrons of art, and the who’s who of the film industry.

Mame Khan

A still from the ‘Padmavat’.

As the glitterati of showbiz descended on the red carpet, one peculiar gentleman graced the Festival de Cannes and, with that, registered a historic moment. With his head adorned in elegant headgear, not a French beret but a ‘Safa’ (a traditional Rajasthani equivalent of a turban), was Mame Khan, a celebrated Langa folk singer from Jaisalmer, Rajasthan.

Mame Khan has been triumphant in paving the way for the folk music of Rajputana into mainstream Indian cinema.

The Coke Studio fame not only walked the red carpet but performed a folk song, “Ghoomar”, which swayed the hearts of every Rajput kid. A song that I, along with a myriad of others, grew up listening to and watching our graceful ladies twirl with beautiful and meticulous moments of hand. A view that lends insight into an expression of a decades-long form of art.

Khan graced the bougie film festival with his suavity, and with his footsteps walked the unsung folk artists from the sandy towns of Rajasthan who deserve the representation of their art on a global platform.

GHOOMAR: A HISTORY OF GRACE

Ghoomar is an art which is irrevocably braided into the culture of Rajasthan. It is mainly performed by women in the secluded confines of zenana (inner parts of the house where women live). The exquisite dance form gets its name from the Hindi word “Ghoomna” (roughly translates to a twirling or spinning movement), showing the vibrant and mesmerising colours of the “Ghaghra”, a flared long skirt worn by women in Rajasthan. It requires remarkable effort and precision to maintain an elegant and uniform twirl. An online website ranked it fourth in the competition of local dances around the world in 2013.

The end of the monarchy marked the onset of a new era, and with that followed a wave of change. The royals, left with mere titular roles, made a move from the palace to politics, the ‘Thakurs’ made a conscious effort to preserve their heritage sites to turn them into cultural havens and create a bloom of tourism, and the middle class got on with their lives. While a lot has changed in the demographics of Rajasthan, the irresistible appeal of Ghoomar has been a common cultural denominator in the state. From the elite to the common man, the love for folk-dance courses through the veins of people from all spheres of life.

While the unwavering faith of our older generation in the culture has remained intact. The sun of liberalisation has shone on the younger sections of our society, and with that has risen a newfound angst to find oneself. The dilemma of how to find the perfect middle ground between the new world and the old world creeps inside the mind. I am no stranger to this labyrinthine complexity.

However, I believe that Ghoomar is a piece of history and a wealth that we can retain and further pass on to the next generation. Just like a chiffon saree or a Poshak in our closet, given to us by our mothers or grandmothers that holds the scent of their perfume, a tale of another time. The romanticizing of chiffons, necks decked with freshwater pearls, or the charm of our very own haute couture ‘Poshaks’ will always resonate with the status quo of our youth.

THE LANGAS AND MANGANIARS

The folk dance is performed to the soothing verses sung by the musical maestros of Rajasthan, the Langas and the Manganiars. The infamous Langas and Manganiars are the rhythm of Rajasthan. The ‘Raag and Taal’, which carries on the tale of times, these musical groups are the essence of Rajputana and the heart of Rajput weddings. Their unconventional voices, coupled with the rhythmic beats of dhol and the twirling of the Gaghra of Poshak on cue, create a frame so magical that it would inspire da Vinci to ditch “The Monalisa” and paint a “Thakurani” instead.

The Langas and Manganiyars have a diverse array of folk songs for different occasions such as weddings, births, and spiritual ceremonies. The folk songs usually begin with a philosophical commentary followed by the singing of ragas, usually accompanied by various instruments such as the Dholak, Khadtal, and Algoja.

THE QUEST FOR NATIONAL PROMINENCE

Ghoomar’s national recognition has seen a significant late bloom. While the art form has seeped its roots deep into Rajasthan, the national expansion of folk dance has a long way to go.

Maharani Rajmata Govardhan Kumari of Santrampur established the “Gangaur Ghoomar Dance Academy” in 1986 to preserve the dance form. She was awarded the fourth highest civilian honour, the Padma Shri, in 2007 for her laudable efforts in contributing to art and promoting the Ghoomar folk dance.

The folk dance recently took centre stage in mainstream Indian cinema with the 2019 released epic saga “Padmavat”, directed by Sanjay Leela Bhansali, and became a sensation.

The appearance of folk singer Mame Khan at the Cannes film festival and the international representation it draws paves the way for a monumental shift in the nationwide status of the dance form.

Rajasthan has birthed a culture and lineage of unsurmountable glory, grace, pomp, and pageantry. The culture continues to live in the spirit of Rajasthan. It is more than a mere fragment of bygone times. It is our identity, a part of who we are. Every person is a carrier of his or her ancestral legacy. Our culture needs us to keep it alive as much as we need it to fortify our sense of identity. So, the responsibility for the preservation of the authentic form of this divine art form falls on our shoulders.

MOHAN NIWAS PALACE IS A DELIGHT FOR LOVERS OF ARCHITECTURE AND WILDLIFE

June 24, 2022, 5:53 am

Surrounded by forests where the majestic Bengal tiger resides, filled with the thick flora and fauna that this tribal region of Bundelkhand is known for and flanked by India’s most revered diamond mine, Panna was a princely state in colonial India. According to the accorded with 11 guns salute state, it belonged to the Bundelkhand Agency and covered an area of 1,008 villages within its borders. The state was founded in the 16th century by Chhatar Sal, who led a revolt against the Mughal Empire, establishing an alliance with the Maratha Peshwa. When he died in 1731, his kingdom was divided among his sons, with one-third of the kingdom going to his son-in-law, the Peshwa Baji Rao I.

Inside the Mohan Niwas Palace.Night view of the Mohan Niwas Palace.An aerial view of the Mohan Niwas Palace.The Mohan Niwas Palace.

When India gained independence, the ruler, Maharaja Mahindra Yadvendra Singh, acceded to the Government of India, and his family has remained as well-respected leaders who have always had the best interests of their people in mind.

Panna National Park is a deciduous and dry forest, home to the Bengal tiger. Among the animals found here are the Bengal tiger, Indian leopard, chital, chinkara, nilgai, Sambar deer, sloth bear, rusty-spotted cat, and Asian palm civet. The park is home to more than 200 species of birds, including the bar-headed goose, crested honey buzzard, red-headed vulture, blossom-headed parakeet, changeable hawk-eagle, and Indian vulture. A much-loved destination for wildlife enthusiasts, it is also frequented by tourists from across the globe, with the family turning many of their properties into warm home stays and cosy heritage hotels.

“Built by my forefather, Lt. Colonel Raja Bhartendra Singh Ju Deo, who was the younger brother of HH. Maharaja Yadvendra Singh Ju Deo,” says the tall, lanky, and handsome Rajkumar Prithviraj Singh of the Mohan Niwas Palace. An advocate enrolled in the Delhi Bar Council, he spends most of his time fighting pro bono cases for the tribals who reside in and around Panna. “Our family has always been considered their protectors.” These tribal people are truly marginalised and I feel most fulfilled in fighting for them in the court of law. “ Cases pertaining to their rights in land, livelihood, and against atrocities inflicted on them keep this handsome prince busy. His sisters, meanwhile, doctors Rajkumari Aditya Singh and Rajkumari Mrinalini Singh, treat the poor people of Panna for free.

Their parents meanwhile run the warm and friendly palace for tourists in quest to view the Bengal tiger. “Our parents Keshav Pratap Singh Ju Deo (Keshav Raja) and wife Divya Singh (Divya Rani) run the homestay, hosting the guests and allowing them the experience of living in a breathing castle with the royal family themselves as their hosts,” shares Prithviraj.

Mohan Palace was the architectural outpouring of Raja Bhartendra Singh Ju Deo, who helmed the Panna State’s Forest and Police Department. He was “overwhelmed by the Windsor Manor, where he fell in love with the architecture of it in the United Kingdom and decided to recreate it in the princely state of Panna,” according to an avid traveller.

The castle is surrounded by warm and generous arches and is made of the famous white sandstone Panna, which is mined. The walls are filled with a lime mix and immaculate Arabian work in the vintage style (where they used seashell to give the Arabian plaster a finishing shine as opposed to the modern marble powdered Arabian). Early morning jeep trips to the park for tiger sightings, laid-back afternoon siestas and a generous meal cooked by the chefs from the Bundelkhand royal kitchens make the stay in this quaint palace a wildlife lover’s delight.

CHATTISGARH’S TWISHA SINGH THAKUR IS A LITERARY PRODIGY

December 5, 2023, 1:59 am

While most of us battle performance pressure around our board examinations, Chhattisgarh’s Twisha Singh Thakur goes above and beyond with her unique mettle. Just around her class X central board examinations in 2019, this wonder became India’s youngest writer of philosophical fiction. Her debut novel, titled A Carol of Him was received with much praise, and soon made it to the Amazon Top 100 philosophy bestsellers.

Twisha Singh Thakur.

“A piece of philosophical fiction, my debut novel is about the day-to-day dilemmas that we all face, like Carol.»Him» refers to two contemporary sides of a situation; the good and the bad, the white and the black, the God and the Satan. And how we often find ourselves in the middle of them, to choose either side in every turn of life, and how we, as humans, be in the grey”, Twisha elaborates. For this, the 18-year-old garnered significant critical acclaim as well as accolades for her authorial credibility.

The following year, the literary prodigy came out with her second book, titled Candour. Speaking of which, Twisha says, “Candour consists of various types and genres of poetry like sonnets and ballads, of nature, the supernatural, mysteries, courage, valour, philosophy and self-help. It is a perfect little book for everyone who wishes to tickle whatever mood they’re in, in a rhythmic and soothing way.”

News of Twisha’s inspirational authorial journey gains further significance considering the dismal state of affairs on Chattisgarh’s educational front. With a lesser literacy race, to begin with, recent census figures indicate Chattisgarh’s female literacy rates lagging behind by over 20 per cent. Given that it is this very region of skewed educational ratios that gave birth to the young writing genius is duly reassuring.

Twisha admits to having an instinctive connection with the art of writing. She reminisces over her childhood, wherein she would bail out of other activities to grant herself some writing space. In her own words, “I ponder a lot, I was a curious child, curious about the mysteries of the universe, the energies and the vibrations, the nature, complexities of humans and history.” For encouraging her to pursue her authorial dreams, Twisha gives immense credit to her family, especially her mother. “My source of inspiration for thinking, giving base to my writings is my mother, who herself recited thoughts of mysteries of the universe instead of bedtime stories to me when I was younger. And my family encouraged me to think, ponder, write”, she adds.

At present, the India Book of Records recognises Twisha to be the youngest writer of philosophical fiction in the nation, and Chattisgarh’s Chief Minister, Bhupesh Baghel too awarded the young author an eminence award. Her story comes as a breath of fresh air for all aspiring writers, thinkers, innovators and makers of social change. She concludes with an endnote that is as inspiring as herself, “I feel that it’s essential for the world to see the intellectual side of young Rajputs of India alongside their courage and valour. I am also a motivational speaker, motivating the youth with ideas of history, philosophy and essential skills like writing. Self-help, after all, is the first step towards social help.”

REGAL REMINISCENCES ON MAHARANA PRATAP JAYANTI

June 17, 2022, 4:50 am

The life and legend of Maharana Pratap has gained admirable distinction in the history of Rajputana for the strong display of valour and virtue against Mughal expansionism. His birth anniversary is celebrated with abundant enthusiasm and a strong flavour of patriotism at diverse venues across India. This year, Maharana Pratap Jayanti witnessed a unique commemoration when several royal and noble families of Rajasthan united on a common platform to pay obeisance to one of the most revered monarchs of Mewar. Organised by RRA, a socio-cultural association founded by the Rajput community based in the USA and Canada, this virtual event was curated by Parakram Singh Jhala and Janmejay Singh Tanwar, and graced by a distinguished panel of speakers.

Parakram Singh Jhala and Janmejay Singh Tanwar of RRA.

(Above) Rawat Jitendra Singh Meja and Rajrana Ghanshyam Singh
Badi Sadri; (Below) Maharaj Ajayraj Singh Begu and Maharaj
Raghavraj Singh Shivrati.

(Above) Maharaj Kumar Vishvaraj Singh Mewar and H.H. Maharao Ijyaraj Singh Kota; (Below) Yuvraj Harshvardhan Singh Dungarpur and H.H. Maharao Vanshwardhan Singh Bundi.

Maharana Pratap’s painting by Raja Ravi Varma.

A painting of Maharana Pratap.

Maharaj Kumar Vishvaraj Singh of Mewar commenced the event by reminiscing how his admirable ancestor surmounted great odds to secure the freedom of Mewar. “While there have been many legendary rulers in Mewar who have achievements of a very high standard to their credit, Maharana Pratap epitomises the history of my family,” said the eloquent scion of Mewar.

His address was followed by the talks of several members of other royal families. While Princess Siddhi Kumari of Bikaner expressed her joy over how the valour of Maharana Pratap is being celebrated not just within India but also in other parts of the world, H.H. Maharaja Sawai Jitendra Singh of Alwar and H.H. Maharao Vanshvardhan Singh of Bundi urged everyone to make a conscious effort to imbibe the values that he stood for and pass them on to future generations.

H.H. Maharao Ijyaraj Singh of Kota reminded everyone how Maharana Pratap’s resistance against the Mughal invasion earned him the title of India’s first freedom fighter. He also mentioned how some Rajputs still put a leaf under their dining plates and straw in their sleeping mattresses to honour his famous pledge to sleep on the ground and eat from a leaf plate till his motherland was freed.

Yuvraj Harshvardhan Singh of Dungarpur shared how his ancestor Maharawal Uday Singh I had fought alongside Maharana Pratap’s grandfather Maharana Sanga in the battle of Khanwa against Babur, and elaborated upon other historical connections between his family and the house of Mewar. H.H. Maharawal Jagmal Singh of Banswara was of the opinion that while we celebrate our heroes in all honesty and reverence, we must also understand the difference between the times they lived in and the times we live in, to truly understand and appreciate their policy decisions.

Rajrana Ghanshyam Singh of Badi Sadri, whose ancestor Jhala Maan Singh was one of the most venerated martyrs of the Battle of Haldighati, was the first among the Umraos of Mewar to pay his respects to Maharana Pratap. Umraos were the highest feudal barons in the service of the Maharana of Mewar, and the Maharana had the privilege of enjoying their unquestionable loyalty across generations.

Maharaj Dr Pushpendra Singh of Karjali, the senior-most speaker on the panel, was of the opinion that Maharana Pratap’s father Maharana Udai Singh must be credited for changing Mewar’s century-old war policy of ‘perish, but do not surrender’ to ‘neither perish, nor surrender’. He credited this changed outlook to be the prime reason for Maharana Pratap’s indomitable character.

Maharaj Ajayraj Singh of Begut threw light on the various accolades given to Maharana Pratap like ‘Veer Shiromani’ and ‘Prathah Smaraniya’, and elaborated upon the reasons behind them. Sharing how he idolised Maharana Pratap from a young age, he spoke very candidly about his childhood hero’s renunciation and sacrifice and expressed his happiness at how the narrative is finally evolving to reveal the lesser-known facts about Maharana Pratap.

Rawat Jitendra Singh of Meja said that while the term ‘equality’ holds strong significance in a modern democracy, Maharana Pratap pioneered and patronised this concept way back in time. “He promoted communal harmony by appointing Hakim Khan Sur as a General in his army. He also gave a strong social and morale boost to the Bhil tribesmen of his state by not only befriending them but also giving them the honour of serving in his forces on equal footing with the Rajputs.”

While Bhanwar Abbheraj Singh of Bansi traced his family’s lineage to Maharana Pratap’s brother Maharaj Shakti Singh, Rawat Mahesh Pratap Singh of Kotharia and Kunwar Jaivardhan Singh of Amet talked about the selfless services of their ancestors to the throne of Mewar. Thakur Himmat Singh of Ghanerao shared how his ancestors fought against the invaders to defend Kumbhalgarh—the birthplace of Maharana Pratap.

Major Maharaj Raghavraj Singh of Shivrati emphasised Maharana Pratap’s military genius and discussed how the battle of Haldighati saw one of the finest cavalry manoeuvres and a distinctive surgical strike directly on the commander of the Mughal forces.

To conclude, in his words, “Narratives may change, but facts will always reflect how Maharana Pratap’s patriotism remained unscathed and independent of any foreign rule.”

DECOLONISING MENTAL HEALTH PRACTICE WITH SAUMYA SINGH

December 5, 2023, 1:59 am

As per Abraham Maslow’s iconic hierarchy of needs, mankind’s dilemma beyond basic needs of physiological safety opens up to a plethora of psychological needs. That is to say, surmounting material deficits and securing financial comforts open up spaces for psychological navigation and existential dilemmas. It can be argued that mental health problems are reported more widely in the more affluent strata of the world. After all, it isn’t unusual for CEOs of multimillion-dollar industries to suffer from insomnia. Or for a skyrocketing celebrity to be silently spiralling into depression? Or for privileged youngsters like you and me to have it all on the surface, while still grappling with anxiety and a sense of emptiness every once in a while. A common theme across each one of these simplistic examples is their joint accomplishment of basic needs in Maslow’s hierarchical pyramid. Often touted as ‘first world problems” by the less fortunate bottom half of the pyramid, this seemingly biassed human predicament is anything but selective. Rather, the universal sufferings generated by mental disquiet and torment grapple with our civilization with the gravity of a silent plague.

Saumya Singh.

Similar to the massive gaps in mainstream healthcare across the spectrum of privilege and affluence, mental healthcare is an even more remote denominator. What does one say to popular rural practises of dealing with mild to extreme mental disturbances with clairvoyance and voodoo fixes? The relative absence of free accessibility to organised therapeutic recourse in most rural sectors further adds to the already complex problem. For the financially well-off, informed recourse is undoubtedly more accessible than it is for the rest. And yet, the disparate ways in which mental healthcare is perceived remains a ubiquitous fault line worldwide.

This rampant cross-cultural stigma vis-a-vis mental health often renders most of us hapless victims. But every once in a while, an outlier emerges out of their tribulations and takes on the systemic change that they’d wish to see in the world around them. Rajputana Collective proudly introduces Saumya Singh, an enterprising young psychologist who jointly endeavours to bridge the mental healthcare gap in privileged as well as less privileged strata of Indian societies.

Her recently-launched venture into independent counselling is known as The Talking Cure, wherein Saumya conducts hour-long sessions with working individuals between the ages of 20 and 60. During these counselling sessions, Saumya helps her clients navigate through a variety of concerns such as grief, anxiety, depression, work-related stress, and relationship issues. She introduces the multiple theories upon which her counselling approach is based. My approach to therapy is perhaps most deeply influenced by Carl Roger’s humanistic or person-centered framework, which emphasises the quality of the relationship between the therapist and client. In line with the Humanistic school, I strive to provide a space for my clients that is characterised by genuineness, empathy, positive regard, and equality. I believe that when working with clients, it is necessary to recognise their agency, dignity, and inherent capacity to grow.

I am also drawn to the post-modern therapeutic approaches, such as Narrative Therapy and Solution-Focused Therapy, as they view people as social beings, identify how many problems stem from dominant but oppressive social structures and discourses, and acknowledge individual and community strengths and resources. “Relatedly, I have also extensively used Interpersonal Therapy in my work, which is a model of therapy that focuses on how fractured social relationships and support networks cause or exacerbate mental health problems,” Saumya says.

A postgraduate in Counselling Psychology from St. Xavier’s College, Mumbai, Saumya is preparing for her doctorate in counselling in the United Kingdom starting this September. For the time in between the two, she had started The Talking Cure to keep in touch with mental healthcare practise in the Indian context.

Saumya’s decision to opt for a career in mental healthcare stems from chance and choice in equal parts. In her own words, “I have personally struggled with emotional difficulties in my adolescence and was unable to seek the help I needed.” The culture of silence around mental health prevented me from recognising and expressing what I was going through at the time. This certainly contributed to my decision to enter the field, as I knew from first-hand experiences that mental health was an aspect of health and well-being that was insufficiently discussed and severely underserved. At the same time, I would not say that a career in mental health was always the plan, or that it came as a calling to me. I think I grew more comfortable in this role gradually, and only after I gained hands-on experience of the work during my master’s training in counselling psychology from St. Xavier’s College, Mumbai.”

Beyond her independent counselling venture, Saumya’s journey as a mental healthcare professional extends to the relatively underprivileged sections of society as well. Speaking of which, she introduces us to another venture she led alongside some of her peers, known as The Coping Corner. Born in times of the pandemic, this is a voluntary organisation that provides mental health counselling services to the underprivileged at no cost. Last year, during the worst period of the COVID-19 pandemic, we were successful in bringing together 8 volunteer therapists and 6 supervisors who conducted over 150 pro bono sessions. Motivated by the positive feedback we received in 2021, we are preparing to run the project this year as well. I am quite proud of the work we have done through the Coping Corner, particularly because this initiative allows me to translate my passion for accessible and culturally competent mental healthcare into action. Moreover, it is a small step towards decolonizing mental health practise by creating spaces that are accessible, collaborative, and cognizant of social realities, “she elaborates.

‘QUEENIE OF THE HILLS’ LOOKS AT PALACES THROUGH THE EYES OF A ROYAL CANINE

June 10, 2022, 6:54 am

An author and an art historian, Cynthia pens a very endearing book looking at the world of palaces from the eyes of a royal canine. Born a member of the notable working breed Gaddi, Queenie witnesses life from, “ Her palatial turreted mansion situated in the Northern Indian hill station of Mussoorie. The designated royal canine of Pookajeet, she gives an exclusive peak into the day-to-day life of her seemingly rarified abode.

Cynthia Meera Frederick

Queenie’s narration gives creative licence for an imaginary account of life within the fictitious Pookajeet Palace. Author Cynthia Meera Frederick says, “I was inspired to write this during the pandemic after rediscovering former American First Lady Barbara Bush’s runaway bestseller, “Millie’s Story” (first read in 1991), which is about life in the White House told through the Presidential family’s springer spaniel, Millie. This paved the way to emulate this genre and share tales via the frankness of a dog’s voice.

Queenie’s mouthpiece has also allowed her to take unabashed jibes at perplexing human behaviour and parody hypocritical traits as an amalgamation of amusing characters and situations are revealed. Adults of all ages will enjoy Queenie’s satire laced chronicles as she narrates exploits with a memorable cast of characters, most of whom she parodies with bestowments of hilariously fitting monikers. This galaxy of personalities she encounters and pokes fun of includes a prima-donna Yorkshire terrier, an insidious politician, and numerous others. She classifies all who enter the palace portals as either a Gracious Guests” or “Beastly Bores” the later whom she feels needs a refresher course on matters of etiquette. “Queenie also reflects on life’s lessons, mores, and values, which are universally shared by all species,” adds Cynthia.

American-born and of Indian origin, Cynthia spent her initial years travelling to Garhwal and the hills of Mussorie. She is now domiciled in her ancestral homeland, where she is a keen traveller around the country. She lectures and writes extensively on subjects about Indian history, heritage and royalty, and has provided historical content and logistical support

for numerous production companies filming in India. In addition, she is a passionate advocate for the welfare, adoption, and safe sterilisation of the indigenous Indian breed of dog, of which she is a dog mother to one dozen, along with one Himalayan Gaddi. She only became a dog lover late in her adult life.

CHAPTER ONE: DESTINED TO BE QUEEN

First, let me tell you a little bit about me. I am a GaddiKutta, a peerless breed of mastiff-type mountain dog belonging exclusively to the Western Himalayan belt in Northern India. In earlier times, we were bred for hunting purposes and were widely used to assist nomadic shepherds throughout the region. While herding sheep is indeed a noble profession, it simply was not my destiny to follow my ancestors’ path. However, such inherent guardian skills are still vital to this very day, and I am indebted to this legacy. While I do not guard flocks of sheep or am otherwise engaged in the field as a working dog, I still take my job of protecting my family and the palace very seriously. I do not remember too much from my early puppyhood. However, I can distinctly recall that there were six of us in our litter. We were all taken on a journey up to Mussoorie by a weather-beaten Garhwali who wore an embroidered woollen cap, which is a proud cultural identity of the Pahari men.

Another ode to his heritage was the traditional woven basket that was hung across his back; where, inside the basket, we were all huddled close togetherundefinedvery warm and snug. I was the only female in the brood, and as the weather-beaten Garhwali went from door to door, one by one and little by little, my siblings all found new homes. The first pup went to a Bengali family who lived in a quaint heritage bungalow. So, now we are down to five. Plodding on, the weather-beaten Garhwali found another taker for one more pup, and so, we dwindled to an even four. His pace quickened as he descended Vincent Hill and our basket got bouncier with each step until he stopped at a household to hand over another puppy. Now, I and my remaining siblings held out like a dejected little threesome. The next sibling was taken in by a well-known television journalist, and so, only two of us were left now. The weather-beaten Garhwali was sagely aware that, as a female, I was always discriminately passed over. It is beyond unreasonable and so unfair, but here in India, an inexplicable prejudice exists against the girl puppy. This is perplexing and I cannot comprehend the mentality behind this irrational logic. Unquestionably, female pups are more affectionate, cleaner, better behaved, and, above all, loyal and devoted companions. Yet, everyone preferred my brothers without paying me the slightest heed. Eventually, the last male pup found a home, leaving me all alone in the basket.

The now very tired weather-beaten Garhwali took a chance and trudged up to the wrought-iron gates of the grand Pookajeet Palace. Waving his crinkly wrinkly hands, he caught the attention of the palace cook, who wildly gesticulated with flapping arms and a shaking head in protest. He emphatically specified that he was not interested one bit in acquiring a puppy let alone a female one. But cleverly, the weather-beaten Garhwali took me out of the basket to show me off. Cook gasped at the sight of me. I, then, was a small fuzzy ball of fur, part fawn, tan and black, and I ought to add that I have enticing amber eyes, which can cast an irresistible spell. So I gave an earnest look to the cook, imploring him to take me. Thankfully, this manoeuvre worked its magic. I was handed over to him by the weather-beaten Garhwali, whose deeply lined face was now broadly fixed in a broad smile. He folded his crinkly-wrinkly hands in a Namaste and then set off back to his village quite merry with his basket empty of puppies while his pocket plentiful of rupees. The best home, as it were, appeared to have been saved especially for me and I was euphoric in my newly found haven. Yet, while I entered the indisputable gates of paradise, I felt a twinge of sorrow because most girl puppies are not accorded a fate so blessed. Thus, I remain eternally grateful for my good fortune.

The grand Pookajeet Palace stands as one of the last abiding vestiges of Mussoorie’s heritage. Built-in the style of a grand Scottish baronial castle, this illustrious backdrop offered ample recreational space, with its spacious lawn and gardens, for a growing puppy full of vitality. Additionally, I discovered that it boasts a library, a billiards room, and a sizable ballroom, along with lots of other nooks and corners for me to explore. Outside, there is a long veranda spanning the entire length of the palace, which provides a space for me outside on rainy days. I also claimed a prime resting perch high up in one of the lofty turrets where I can peek out of its keyhole window. This affords the windows and the dusting of everything with intense fervour. To my great unease and displeasure, the high level of attention previously accorded to me was now transferred to mundane cleaning. However, my fears were assuaged when I heard Cook say, “It is essential the palace be ready in time for Maharaja Sahib.” Oh boy was I excited and honest to goodness, real-life Maharaja was coming! Would he arrive on the back of a caparisoned elephant with a grand procession, similar to how Grandfather rolled, as can be seen in the old photographs? Then, I also learned that the current Maharaja had served in a cavalry unit of the glorious Indian Army. That meant he would certainly arrive with tanks and horses and maybe a column of marching troops with bands and colors flying in the wind too! I simply could not wait for this grand cortege.

The eagerly awaited day was upon us at last, and I rushed up to the turret to keep a watch on the great entourage. My heart was beating so fast when the palace’s iron gates opened. But when I looked down the road, all I saw approaching was an ordinary-looking Innova car. What a letdown! Despite my disappointment, I was still overcome with curiosity. So, I sprinted down to proffer my felicitations to the Maharaja. As soon as he emerged from the vehicle, Cook and all the others thronged about at his side, but he noticed me at once. Spellbound, he asked, “Now, who is this petite princess?” He was simply enchanted with me, and I venture to say that it was love at first sight. I should add that I started with the name “Princess”, which he initially gave me. Having said that, gradually over time, I grew more confident in my rank and position in the household, which, in due course, led one of the guests to make the declaration, ‘That Gaddi rules the roost.” She is truly the Queen of the Castle. ’ So, in true form, fitting to my firmly avowed stature, henceforth, I was called ‘Queenie’. The Maharaja of Pookajeet is formally addressed as His Highness, but he prefers to be called Pookhie by friends, although I simply address him as “Sir”. I feel that this strikes the correct balance of not sounding too formal while at the same time not appearing too intimate or overly familiar. He was accompanied by Madame, an old family friend from America named Clarissa Cross. Facetiously speaking, whoever gifted her that surname, was bang on the money because she often acts like a cranky spoilsport.

REMEMBERING RAO GOPAL SINGHJI: FREEDOM FIGHTING FOREFATHER OF KHARWA

December 5, 2023, 1:59 am

During the British Raj in India, several Rajput kings, princes and chieftains are known to have lent support to the nationalist movement against the colonisers. Most Rajputs exercised their prudence by contributing to the freedom movement on the one hand while maintaining diplomatic ties with the British on the other. When it comes to stories of anti-British nationalism amongst the royals, one hears of legends such as Tantia Tope, Tipu Sultan, Rani Laxmibai of Jhansi to name but a few.

Rao Gopal Singhji

For better or for worse, historical discourses are known by nature to be dominated by a highly selective branch of mainstream accounts. It is probably due to this factor that the story of Rao Gopal Singhji of Kharwa as amongst Rajputana’s primary freedom fighters is a lesser-known tale, relegated to mythified legends in the immediate vicinity of Kharwa, his ancestral place of origin. Owing to the continued practice of folklore and Rao Gopal Singhji’s commemoration by the present-day people of Kharwa, a scholar named Melia Belli documented a research paper at the University of Texas and Arlington, which I came across in one of my academic pursuits. I owe most of the content in this article to her work and references, as well as a book on Kharwa’s history lent to me by Baisa Pushpita Singh. I hope that this brief account of the Rao Gopal Singhji’s story as an unrelenting patriot and freedom fighter helps place him closer to the centre stage of our national conscience, and that it arouses our curiosity to re-discover the lesser known tales of our country’s freedom struggle, which might have borrowed much more from our community than we are presently of.

The principality of Kharwa was granted to Thakur Rao Sakat Singhji in Jodhpur for his loyalty to the Marwar court in the year 1594. From thereon, his descendants have reigned over it as the custodians of their land and people.The generous dynasty of Rathore rulers at Kharwa were to produce an extraordinary fifteenth descendant in the form of Rao Gopal Singhji, who would leave his mark as a devout patriot, fierce nationalist and relentless freedom fighter. Born in 1872 to the then ruler of Kharwa, Rao Madho Singhji, Rao Gopal Singhji would live an illustrious life of rebellion and sacrifice, wherein he would carry his undying duty towards his motherland unto his dying breath. Tales of his heroic bravery are commemorated upto this day, when, every spring Kharwa welcomes his death anniversary with a procession and local fair, singing songs and hymns of praise for their beloved king in a collective nostalgia.

Several historians such as Hooja (2006) point out that the anti-colonial fervour had a slower infiltration into the state of Rajputana as compared to the Central Provinces, United Provinces and Bengal. Most of Rao Gopal Singhji’s contemporaries in Rajputana acted either as apologists in favour of or mild critics towards the British overlords. His stance to the unwanted presence of British colonialists in India would be highly violent and defiant in nature and one, which would lead him to usher the movement’s currents into western Rajasthan like a strong gust of desert wind. Rao Gopal Singhji forged allies with freedom fighters within Rajasthan as well as beyond it, and even managed to invite heroes such Ras Bihari Bose to personally invite non literate villages in Rajasthan to join the freedom struggle.

While attending some of the Delhi Durbars around the Swadeshi movement, Rao Gopal Singhji conspired with Jorawar Singhji and Keshvar Singhji of Kota to jointly assassinate the then Viceroy, Lord Hardinge during the Delhi Durbar. The trio were successful in detonating a bomb at the Chandni Chowk intersection, however, their assassination attempt was unsuccessful with Lord Hardinge sustaining minor injuries. Several members of his retinue however, lost their lives. The New York Times, amongst other prominent news papers has duly reported this incident in their issue dated the 12th of December, 1912.

Thereafter, Rao Gopal Singhji and his co-conspirers immediately fled to seek refuge in Ajmer which, by that time had become a hotbed of anti-Raj sentiments and activities. Famous freedom fighters such as Bhagat Singh are said to have taken up temporary refuges in Ajmer as well. For the next few years, Rao Gopal Singhji was to conduct his anti-nationalist operations out of Ajmer and planned another armed attach on the British for the following year, a conspiracy that was caught in time due to being intercepted by the British intelligence. Rao Gopal Singhji and his co-conspirers were thus imprisoned at the neighbouring Todagarh Jail, from which Rao Gopal Singhji is said to have made several daring escapes until his eventual release in 1920.

Upon being released from prison, the die-hard freedom fighter wasted no time in resuming his revolutionary activities in Ajmer. His popularity as not just a regional, but a national a freedom fighter had caught on to an extent that made the British realise the futility in his imprisonment or execution, as that would only make him a martyr in public sentiments and thus, add further impetus to anti-Raj activities. Hence, they released an ultimatum against Rao Gopal Singhji to abdicate his throne in favour of his son, failing which, they would annex Kharwa upon his death and deny his son his regal prerogative. His fear of compromising his ancestral land made Rao Gopal Singhji follow the colonial directives and abdicate his throne to his son and successor, Rao Ganpat Singh. Even after retiring from the active governance of Kharwa, many are convinced of his continued revolutionary activities, although highly clandestine in nature.

Interestingly, Belli notes that unlike other cult freedom fighters who martyred themselves for the nationalist cause, Rao Gopal Singhji shares this cult status despite being fated sixty seven years of life and a natural death. He is also worshipped by the villagefolk of Kharwa for possessing divine powers and a sacrosanct access to the local deity, Chaturbhuj ji during his lifetime. This posthumous reverence of an exalted stature could be traced back to Rao Gopal Singhji’s dynamic and selfless contribution to the nationalist movement despite surrounding trends that were more diplomatic and conformist in nature. He surely made for a bright spark in the explosive revolution that drove India to her freedom and despite the supersession of the less violent ideologies of Gandhiji, no patriot can negate the crucial role played by India’s militant children, when she needed them their bravery and sacrifice the most.

INDIA’S FIVE MOST ELIGIBLE ROYAL SCIONS

June 3, 2022, 6:13 am

HH Maharaja Padmanbh Singh of Jaipur:

Global media’s darling, a celebrated polo player, drop dead gorgeous and a very able administrator who is running the large heritage empire of Jaipur, Padmanabh Singh has emerged as the symbol of modern day Princely India. The 303rd descendent in the long lineage of Jaipur he is a star on the polo screen. The polo season in India, flagging off from Delhi, going to Jaipur and finally arriving at Jodhpur is witness to his many wins. Padmanabh began playing competitive polo in 2015 in England and has led the Indian National Team at Hurlingham Park, which marked the first visit to the venue by an Indian team in over 70 years. He has also played with Prince William and Prince Harry in England in a competitive match in 2017. Emerging as a great host he has immortalized the holi celebrations in his home, City Palace Jaipur. Padmanabh is the sweetheart of international elite circuits, having escorted Hollywood actress Reese Witherspoon’s daughter, Ava Phillippe, for her debut at the Le Bal des Débutantes in 2017.

Martand SinghChaitanya RajSuryajit SinghPadmanabh SinghAmbikeshwar Katoch

Maha Martand Singh of Jammu & Kashmir:

A gentle and intelligent young prince, Martand Singh is a carbon copy of his grand father Maharaja Dr. Karan Singh with a suaveness that is a reminder of his maternal grand-father, the dynamic politician Madhav Rao Scindia, Maharaja of Gwalior. A graduate of the University of St. Andrews, Scotland, in Business Management and Sustainable Development, he has a tough family act to follow as he is the great grandson of Maharaja Hari Singh of Kashmir, grandson of Karan Singh who is a Rajya Sabha member and a senior member of the Indian National Congress Party, and son of Vikramaditya Singh who is actively involved in the politics of the state.

Working closely with his father to help him achieve his political goals, Martand has worked with a leading political PR Cell and understands first hand the mechanics of fighting elections. A keen environmentalist and conservationist he also works closely with his father for the various hospitality business and educational and spiritual trusts of the family.

HH Maharawal Chaitanya Raj Bhati of Jaisalmer

It was a big tragedy of losing a young father that placed him in the role of the Maharawal of an 868-year-long history of the Jaisalmer Riyasat. Not long ago the world witnessed visions of this young, handsome Maharaja preside over his tilak ceremony with stoic elegance, his procession being greeted by a sea of citizens who welcomed this young Maharawal with open arms. An agro entrepreneur, a philanthropist and an educationist, Chaitanya Raj is the son of Rajmata Raseshwari Singh and the late Maharaja Braj Raj Singh of Bhati.

Born and brought up in New Delhi and having graduated from SOAS University in U.K. he now resides in his palace amongst his people of Jaisalmer enjoying the goodwill and responsibility attached to the role. Promoting the socio-economic development of Jaisalmer has been his dream and he flagged it off by supporting CITTA in setting up the Rajkumari Ratnavati Girls School and Women’s Economic Centre (the Gyaan Centre).

Tika Ambikeshwar Katoch of Kangra-Lambragaon:

A sensitized soul with grand plans for himself and his state of Kangra, tall, lanky and handsome Tika Ambikeshwar is the direct descendent of the revolutionary Maharaja Sansar Chand who brought Kangra Kalam alive, built waterways and help develop this hill station. His grandmother Chandresh Kumari was the culture minister of India and is the princess of Jodhpur while his mother, Rani Shailaja Kumari, a brilliant food historian hails from Sailana

Tika AmbikeshwarKatoch of Kangra-Lambagraon is a young man with grand plans. A graduate from Loughborough University in Politics and Economics plans to do my Master’s in Politics, MBA in Digital Marketing, and maybe, an MPhil or a PhD in Environmental Governance. Currently apprenticing at India Bulls he was one of the youngest people to have worked for His Holiness’ office and counts The Dalai Lama as one of his biggest inspirations Maharaj Kumar Suryajit Singh of Kapurthala

Maharaj Kumar Suryajit Singh of Kapurthala:

The Kapurthala royal family is known for its love for luxury as we as its centuries old linkage to France. Suryajit Singh, the Maharaj Kumar of Kapurthala, like his father Tika Shatrujit Singh is involved in the world of Uber Luxe. Great grand son of the legendary Maharaja Jagatjeet Singh Suryaveer went to Doon School and graduated in economics from Franklin and Marshallz College, Pennsylvania was born in the lap of luxury. He grew up in the house that had a glorious heritage and evolved taste to patronise luxury

A lineage that helped him work with global brands like Louis Vuitton and Ralph Lauren. Taking keen interest in the history of his state he is possibly the most sought after prince from Punjab.

ARTWORKS: #30DAYSOFTHAR

December 5, 2023, 1:59 am

Ever since I can remember, I have enjoyed sketching and watercolours. Upon growing up, I was certain about pursuing the field of art and design and proceeded to pursue a degree at the National Institute of Fashion Technology, Gandhinagar. Soon after my graduation, I got married and moved to the United Kingdom for a few years, where I pursued an art degree at the University of the Arts in London. During my time there, I also got the chance to work for high street fashion brands such as H&M and TopShop. I didn’t waste a single opportunity when it came to soaking in the rich art, music and theatre culture in the historic British capital. Since my husband is a polo player, I accompanied him on his travels abroad and further immersed myself in the diverse cultures of the world.

Upon returning, I retained my keen and ever-growing love for all things creative. In 2017, I launched my dream project in the form of a lifestyle store, Gulenar in Udaipur, which is an outlet that offers ethically-sourced slow fashion and lifestyle products. I had also considered painting on numerous occasions over the past few years but didn’t manage to do so because of my busy routine. Soon, the concept of time dissolved under the imposition of a lockdown, and I have been privileged enough to rekindle my love for painting.

The lockdown months constitute that time of the year that I usually spend in Jodhpur. The present situations have prevented any possibility of me making a homebound journey, but have intensified my longing for the sights and sounds of my homeland in Marwar.

This longing inspired me to launch a series of watercolour paintings which I labelled as #30DaysOfThar, flora and fauna of the Thar desert. The online response to this series of mine has been overwhelming and has encouraged me to make it available at Gulenar in the time to follow.

Before I sign off, I’d like to share the biggest take back from this series, which has been the large number of people that have contacted me to express how my artwork has inspired them to dedicate time to their creative talents, which have thus far remained dormant. The deep and personal connection that my artwork has fostered amongst its audience has been immensely humbling.

The author can be contacted on sheljas@gmail.com if you want to purchase these prints or request customised illustrations. Alternatively, she can be contacted via Instagram as @shelja__singh or @gulenarstore.

Life on the Front Lines in interiors of Rajasthan

December 5, 2023, 1:59 am

“My mission in life is not merely to survive, but to thrive; and to do so with some passion, some compassion, some humour and some style. Courage is the most important of all the virtues because without courage you can’t practice any other virtue consistently.”

– Maya Angelou

Having worked in the development space for about five years now, I have committed a large part of my energy and mind space to address pressing challenges faced by people around Rajasthan. I was amongst the founding members of Global Citizen India in 2016, wherein we chose three United Nations Sustainable Development Goals to focus on. They were water, sanitation and hygiene. I have become increasingly aware of the plight of young girls contending with school dropouts, urinary tract infections, anemia and so on due to a lack of education on menstrual hygiene and the taboo around it. This cause has particularly stirred my attention and I pledged to contribute my energies towards bettering it.

During the current pandemic and the ensuing lockdown, women have borne difficulties, especially hygiene-related ones. During the first phase of the lockdown, sanitary pads were not even recognised as an essential item! Not only did this cause an acute shortage in the rural belts of India, but also in the well-connected urban centres. It is easy to ascertain the hardships it would have caused in suburban and rural areas. As the larger parts of India step into the monsoon season, women using old pieces of cloth as reusable pads will only find it harder to wash and dry them without posing themselves with a serious risk of infections.

As per a 2014 report, there were as many as 35.5 crores menstruating girls and women in all of India. Given the rapid rise in population, it is safe to assume that in the years since the report was generated, these numbers have risen significantly.

I have collaborated with three different non-profits (BG Foundation, BGIF and MasksforIndia) to provide hygiene kits to families in rural Rajasthan, particularly in Khuri- my ancestral village in the Sikar district. The purpose of this hygiene campaign is twofold. One, to spread awareness about menstrual hygiene and government guidelines on the correct use of sanitation such as face masks and hand-washing. Two, to provide free hygiene kits to the women of these rural families as it has been observed that more often than not, they have ensured that children and older members of the family receive supplies. Each kit contains an average of 4-5 face masks; one for each family member. So far, I have distributed over 300 kits to young girls and women in the Jaipur and Sikar districts, and continue to work towards the cause.

Image, and content courtesy: Devika Shekhawat

The better-known states’ insignias were easily recognisable but the stories behind the symbols of pride of smaller states were dug.

December 5, 2023, 1:59 am

How many of us know that there is a third chamber within the parliament house of India. A hall titled originally the Chamber of Princes that was home to an important congregation of Princely states who were part of the Chambers Established by King-Emperor George V’s proclamation after the Government of India Act 1919 was given royal assent. It was the venue where the royal scions of the 127 member states met, the royal insignias of each of these states cast in bronze gracing this circular room.

Anshul Alagh, Safir Anand, Dhyaneshwar Mulay, Anshu Khanna, Varun Khanna, and Rishi Kumar.Photo is an original from the Chamber of Princes library.

As India achieved its independence and Princely India merged into democratic India, the chambers were converted into the parliament library, conserved by the Archeological Survey of India. The insignias remained a subject of intrigue for the ASI, who were keen to discover which insignia belonged to which erstwhile state. Hence under the recent Parliament library initiative, Council for Royal Roots, a not for profit body founded by the philanthropist Rishi Kumar was invited to submit a document chronicling these insignias and matching them to the state they belonged to.

As part of the advisory committee along with Shri Dhyaneshwar Mulay, better known as the passport man of India, Safir Anand, celebrated IPR lawyer and Princess Vaishnavi Kumari of Kishangarh, I thoroughly revelled in this nostalgia trip. While most of the better-known states’ insignias were easily recognisable, it was interesting to find the story behind the symbols of pride of smaller states. Safir Anand believed that these insignias were, “Part of the intangible heritage of these states that needed to be recognised and protected.”

Council Of Royal Roots looks forward to linking conservation to appreciation of our heritage. The organisation hopes to undertake initiatives that will promote India’s rich cultural heritage to the new generation of Indians and international audience, making it more accessible to a wider public with an inclusive effort while preserving both tangible and intangible heritage of India. It also focuses on national and international tourism enhancement that strengthens the backbone of economic activities, which further generates year-round employment activities for inhabitants in both rural and urban areas. I have more than 15 years of experience in a leadership position with organisations and companies based in India and the USA. His deep interest in social work has led him to work in the mentorship of Honorable Prime Minister Narendra Modi and Late President Dr Kalam for education and digital India.

The parliament house was built in 1920 by the famous architect Sir Herbert Baker. It originally incorporated the central hall, the two chambers (The Central Legislative Agency now the Lok Sabha and the Council of States now Rajya Sabha) and the Chambers of Prince that was a beautifully built space for the royal scions to congregate in.

Formed in 1920, the chamber was the British government’s way of warming up to the creation of the chamber followed by the abandonment by the British of their long-established policy of isolating the Indian rulers from each other and also from the rest of the world.

The Chamber initially consisted of 120 members. Of those, 108 from the more significant states were members in their own right, while the remaining twelve seats were for the representation of a further 127 states. That left 327 minor states, which were unrepresented. Also, some of the more important rulers like the Maratha-ruled states of Baroda State, Gwalior State and Holkar State declined to join it.

The writer is the founder and MD of Council Of Royal Roots.

Bundi: The legacy continues

December 5, 2023, 1:59 am

The sleepy town of Bundi awoke with great anticipation on the morning of the Navsamvatsar. It was the 2nd of April 2022 coinciding with the first day of the Hindu month of Chaitra which heralds the New Year in North India. The beginning of the year 2079 of the Vikram Samvat, a year filled with hope and revival, especially so, after the two years of the pandemic. However for the people of Bundi it was the eagerness to participate in an ancient tradition of the anointment of the titular Maharao Raja of Bundi that excited them even more. Hoardings and posters announcing the Royal Event had sprung up all over the city. The last Maharao Ranjit Singh died childless in 2010. He left behind no heir to succeed him and as per tradition, the Gaddi must not remain vacant as the ancient lineage must continue, therefore after a wait of 12 long years it was finally decided by the members of the former nobility of Bundi including the late Maharao Brijraj Singh ji of Kota that Kr Vanshvardhan Singh of Kapren is the deserving candidate since he is the nephew and the closest surviving kin to the late Maharao Ranjit Singh and shares the same Royal bloodline, hence he should be anointed the titular Maharao Raja of Bundi.

Royal retainers tie turbans and gear up for the grand ceremony.The magnificent Taragah Fort and the Garh Palace dominate the skyline of Bundi town in south-eastern Rajasthan.Vanshvardhan arrives for the Raj Tilak accompanied by royal retainers.Jagirdars or members from the former nobility of Bundi seated for the raj tilak ceremony.Puja and havan being conducted by royal priests

The former kingdom located in the South-Eastern part of Rajasthan was amongst the 22 princely states that comprised erstwhile Rajputana. A 17-Gun Salute state, Bundi was founded in 1242 AD by Rao Deva ji, a descendant of Rao Visaladev the Chauhan ruler of Ajmer who also happened to be the ancestor of the illustrious Prithviraj Chauhan. The Bundi Royals are the head of the Hada branch of the Chauhans and claim descent from the Agnikula or the Fire clan of Rajputs. Maharao Bhadhur Singh ji was the last ruler of Bundi and upon Independence signed the treaty of accession thereby formally merging the State of Bundi into the Union of India in 1949. Maharao Bhadhur Singh ji had been adopted by his predecessor Maharao Ishwari Singh ji, who did not have any issues, and thus in his lifetime adopted two sons, Bhadhur Singh ji and his brother Kesari Singh ji from one of the Jagirdar or Nobility family of Bundi. Maharao Vanshvardhan Singh is the grandson of Maharaj Kesari Singh ji, brother of the Late Maharao Bhadhur Singh ji. An alumnus of Daly College Indore, Vanshvardhan graduated from De Montfort University in Leicester UK. A keen cricketer he has also represented MP in the Junior National Shooting Championships.

The Garh Palace complex and below that, the Moti Mahal Palace complex were the primary venues for the splendid Raj Tilak Dastur. The Taragarh Fort and the sprawling Garh Palace complex pretty much dominate the skyline over the medieval town of Bundi. Built over 400 years by successive rulers of Bundi, a series of palaces, gardens, temples, fortified mansions and other magnificent structures exist within this astounding 500 meter high, hill side fortification that have each been named after the ruler who built them. However, the Forts, Piece de resistance is most definitely the stunning Chitrashala that boasts of some of the finest wall paintings and frescoes in Rajasthan. Executed by the ateliers of the Bundi School of miniature art, these exquisite paintings depict scenes from the life of Lord Krishna and his consort Radha, religious and military processions, Shikaar scenes, festivals and local folklore. The use of blue and green hues is predominant in most of these creations.

Customary rituals commenced right from daybreak and continued until sunset. Kr Vanshvardhan arrived with much fanfare from his Ishwari Niwas residence to the Mataji ka Chowk within the Moti Mahal complex. After the ceremonial bath and cleansing ceremony, Pujas, and Havan were performed by the raj purohits or the royal priests. This was followed by darshan, abhishek, and paying obeisance at the Royal Family deities at the Ashapura Mata and the Rangji temples. Meanwhile in the open courtyard of the Moti Mahal Palace the invitees to the Raj Tilak had already begun to assemble and were directed to their ordained seats. In the centre of the garden-courtyard, a large canopy was erected, below which the Royal Gaddi was placed. On the left of the canopy was a large area designated for the Jagirdars and members of the families of the former Nobility of Bundi, and important dignitaries from the town.Immediately flanking the two sides of the canopy were seats reserved for the visiting Royalty that included the Maharaja of Bikaner, Maharao of Sirohi, Raja of Khilchipur, Yuvaraj of Kutch and Raghogarh and then there were special seats for the Maharaja of Alwar and his son who are directly related to the Bundi royals. On the right of the canopy was a section that had been earmarked for the Kotah nobility, special guests, and family members. Directly facing the canopy at a little distance was the enclosure for the ladies who were attending the coronation ceremony. At the auspicious hour Vanshvardhan reached the venue accompanied by liveried attendants bearing the Royal Standard, the Insignia, the Chhatri and the fly-whisks. Once he had taken his seat, the Paag of the late Maharao Ranjit Singh ji was brought from the Rangnathji temple and placed over the head of Kr Vanshvardhan by HH Maharaja Jitendra Singh of Alwar. This was followed by the Raj Tilak Dastur that was performed by the royal priests. Once this ceremony was concluded it was time for the Nazar & Nazrana ceremony that was performed by the visiting Royalty and subsequently by all the members of the families of the former Jagridars of Kotah, followed by rest of the invitees and guests.

Post noon, the focus now shifted to the imposing Garh Palace where the next set of ceremonies were to be held. The traditional Darikhana, exclusively organised for the Bundi Jagirdars at the Diwaan-I-Khas within the Garh Palace precinct had been a major topic of discussion. The Darikhana, an age-old feudal practice is primarily a congregation of the nobility in the presence of the ruler and held on special occasions such as festivals, birthdays or coronation ceremonies. The nobility attending the Darikhana have to adhere to the strict dress code and are seated as per their hierarchy and pecking order. Vanshvardhan now climbed onto a bedecked horse and rode up to the fort followed by his retainers and others on foot. Resplendent in the customary brocade achkan and a safa adorned with an exquisite family heirloom—a stunning Sirpech or turban ornament, he took up his position on the marble throne at the Diwaan-I-Khas. On either side were seated members representing the 40 Jagirdar and Kotdiyat families that included Kapren, Junia, Antarda, Bada Kheda, Jajawar, Peepalda, Thikarda, Savantgarh, Indergarh, Balwan, and Khatolia mongst others. As per the protocol, all the Jagirdars then performed the Nazar & Nazrana; simply a social gesture to acknowledge the anointment of the new titular Maharao Raja of Bundi and reposing their loyalty and allegiance to him.

Last but not the least it was time for the stately elephant procession that now began to wind its way through the old town of Bundi. The new ‘Maharao Raja’ mounted atop the beautifully caparisoned elephant, steadily navigated the 3 km long route that was overwhelmingly greeted by the enthusiastic townsfolk. Post sunset and amidst chants of ‘Long Live the Maharao Raja of Bundi’, the procession finally culminated at Ishwari Niwas thus putting at rest the uncertainty and the speculation that had prevailed for the past 12 years and further ensuring the continuity of the 780-year-old legacy of the Hada rulers of Bundi.

‘Paper Jewels Postcards from the Raj’ by Omar Khan is a congregation of 518 vintage postcards that give you a visual tour of India, Pakistan, and Sri Lanka.

December 5, 2023, 1:59 am

Images from the Raj era are like visual delights that are like veritable art forms. Remnants of the Kodak era when the world was just about discovering the pleasure of photography. When German and French presses located in Kolkata and Mumbai were reproducing works of masters. I stumbled upon this jewel of a book titled ‘Paper Jewels Postcards from the Raj’ by Omar Khan. It is a congregation of 518 vintage postcards that give you a visual tour of India, Pakistan, and Sri Lanka, and co-published by Mapin Publishing and the Alkazi Collection of Photography.

‘Paper Jewels Postcards from the Raj’ cover.

Temple dancers.

Art inspired postcards.Gateway of India.French postcard.

Postcards were to people in 1900 what the Internet was to the world in 2000. These were the world’s first mass transfusion of color images. We went from thousands to billions of postcards in a handful of years. The finest painters and graphic artists from India, Austria, Britain, France, Italy, and the US were involved. It is the story of postcards during the Raj era and the first book on the subject that uncovers gems including early postcards of the great Indian painter M.V. Dhurandhar, Ravi Varma Press in Mumbai, exceptional work of an early Austrian lithographer in Kolkata, a British photographer in Peshawar, and Indian studios in Jaipur, Kashmir, Delhi, Lahore, Madras, Karachi.

Organised by place into a dozen chapters, the essays cover key themes crucial to postcard publishing: religion, dancers, teas, and soaps, famines, fakirs, humor, warfare, and the role of postcards in the Independence movement. It tells the stories of the first postcard publishers of the subcontinent between 1892 and 1947, most of whose images have not been seen since they were published a century ago.

‘Paper Jewels’ relies almost entirely on new primary research in archives and private collections in India, Pakistan, Europe, and the US, and explores the many artistic, business, fashion, political, and technical developments that contributed to the rise of a medium—the postcard—that is still very much with us today.

There were many reasons for the appearance of the picture postcard in the 1890s. These included the invention of photography—photographs were common by the 1870s, and the mass-produced Kodak camera came out in the 1880s and greatly democratised the form. There were more liberal international postal regulations and printing technologies like rapid press lithography were being exploited by small workshops and artisans in European and Indian cities. The growth of shipping and railway lines exemplified by cards like City Line To & From India contributed to a fertile tourist market. Postcards, as a messaging system, were literally built on an iron communications network. At the same time, the spark that proved the concept came from advertising. It was business and marketing that helped underwrite the initially rather high costs for printing postcards.

The selection of postcards in the book is eclectic and reflective of the many facets of the Raj era. The gallantry of the Indian forces is captured in a poster by Nestle’s Swiss Milk that celebrates the 20th Punjab Infantry, a successful British Indian Army regiment on the North-West Frontier. There are lilting images of the Southern peninsula. An endearing series by Singer Sewing Machine on the singer families. A very rich imagery of the Devadasis… yet another series of nawabs and kings posing like brown sahibs.

Especially interesting are those sent from the Taj Mahal Palace hotel in Bombay, which opened at the height of the postcard craze in the city in 1903. A postcard produced by the hotel is one thing: clean, purchased on the rack at the hotel shop, A postcard with instructions sent by J.C.G. Goodrich to the Editor of a Seattle, Washington newspaper on Christmas eve is quite another. Other times the writing overwhelms a beautiful card, as in the case of Bombay.

DECODING THE SAGA: MAHARAJA’S LOST DIAMOND NECKLACE RESTORED AND HOW

May 13, 2022, 7:28 am

T he world’s eyes once again got trained on our majestic maharajas and their jewels. All thanks to the appearance of social media queen and American YouTuber Emma Chamberlain who appeared for the Met Gala this year wearing a ‘very gilded’ necklace around her slender neck. Now, the theme of the gala was ‘Gilded history’ and the collar she wore could not have been more historic. Given that it allegedly belonged to the Maharaja of Patiala and was restored to its original brilliance by the Paris-based jewellery house Cartier not so long back. Netizens went to town calling it ‘colonial appropriation’. Popreset, who calls himself the pop culture god and is followed by 11k Instagrammers, claimed, “No shade to Emma since she is the Cartier Ambassador but, this is a very important historic piece that should have been returned to the Patiala royal family and not made into a fashion statement.” In defence of Cartier, leading author and historian Cynthia Meera Frederick claimed, “Cartier never said that it is the original choker or a reconstructed piece. There is no official statement on that.” To which yet another Instagrammer claimed, “There is nothing Indian about the necklace except that it was bought by an Indian potentate.”

Emma Chamberlain and Maharaja Bhupinder Singh of Patiala.

Patiala necklace.

Indeed Cartier’s official press room has not made an official statement on its originality. It was in 1889 that Maharaja Bhupinder Singh of Patiala spotted and bought the seventhlargest diamond in the world, mined a year before in South Africa at the Paris Universal exhibition, gest diamond at the time. Bought from De Beers, it had a 428 carats pre-cut weight, and it weighed 234.65 carats in its final setting. It is the largest cushion-cut yellow diamond and the 2nd largest yellow-faceted diamond in the world. In 1925, the Maharaja travelled to Paris, bringing with him numerous trunks of precious stones: diamonds, emeralds, sapphires, pearls and rubies of the highest quality set in antique Indian settings, which he decided to have reset at Maison Cartier. The Maharaja commissioned Cartier to turn the De Beers diamond into an heirloom piece and make a ceremonial necklace with the diamond being its centrepiece. It was finally completed in 1928. The necklace has five rows of platinum chains embellished with 2,930 diamonds, including as its centrepiece the world’s seventh-lar. The necklace also contained seven other large diamonds ranging from 18 to 73 carats, and a number of Burmese rubies. This was the most expensive piece of jewellery ever made in history and it would have cost some US$ 30 million dollars today in its original form. The necklace disappeared from the Royal Treasury of Patiala around 1948. In 1982, at a Sotheby’s auction in Geneva, the De Beers diamond reappeared. There, the bidding went up to US$ 3.16 million, but it is unclear whether it met its reserve price. In 1998, part of the necklace was found at a second-hand jewellery shop in London by Eric Nussbaum, a Cartier associate. The remaining large jewels were missing, including the Burmese rubies and the 18 to 73 carats diamonds that were mounted on a pendant. Cartier purchased the incomplete necklace and after four years, restored it to resemble the original. They replaced the lost diamonds with cubic zirconia and synthetic diamonds and mounted a replica of the original De Beers diamond. The fate of the choker worn by Emma though remains unknown. And, no one knows whether it disappeared with the necklace or if it was sold. It was the collar that Emma wore and what would have seemed like a proud moment for the Maharaja era, turned into another reason to scowl at ‘Imperialist Europe’. History has it that the Maharajas came out into the durbar flaunting the family jewels that were not just objects of desire but also a way to reflect the Princely state’s affluence and political well being. The Patialas were known for this practice and like their coffers, many toshakhanas went empty post-independence, especially when the privy purses got banned by the then government. As Cynthia admitted, “So many royal pieces were either sold or dismantled. This is, unfortunately, a sad reality which cannot be denied.”

Unveiling Vijaydan Detha’s ‘Timeless Tales from Marwar’

December 5, 2023, 1:59 am

‘I’ll tell you a secret . . . A writer’s own experience, craft, imagination and thought have a limit, but the stories heard from the mouths of men and women have neither a limit nor a boundary. Neither a limit to storylines nor to the collective thought processes. Neither a boundary to the imagination nor to experience.’ - Bijji

A chronicler of Rajasthani culture and fondly known as Bijji, Padma Shri Vijaydan Detha’s collection of Rajasthani folk tales, the classic Batan ri Phulwari, have been produced as retellings in Timeless Tales from Marwar. Batan ri Phulwari, meaning ‘Garden of Tales’, is a fourteen volume collection of folk stories collected and written over nearly five decades. The literature of Rajasthan is usually thought of in the binary of khyaat and baat. Khyaat are the chronicles and praises of kings and rulers, while baat are imaginary tales that need not be historical. This collection falls into the latter category.

Vijaydan Detha was born in 1926 in Borunda, Rajasthan, in the Charan caste of bards and poets. One of the country›s most prolific and celebrated voices, his writings include more than 800 short stories, several of which have been translated into multiple languages. Detha’s timeless classics have also been adapted into major plays and movies, some notable ones being Paheli, Charandas Chor and Duvidha. Bijli collected all the stories in Batan ri Phulwari from Borunda and its surroundings. They were told by men who would sit around at the village chowk after nightfall, chatting and telling stories to one another.

In the book›s introduction, social activist Aruna Roy talks about this rich ‘oral tradition’ of storytelling in Rajasthan—one whose “every retelling adds textures, from one generation to the next for hundreds of years”. Vishes Kothari, who has translated the stories from Rajasthani to English, has attempted to conserve as much of the text›s regionality and orality. He has also sprinkled several Rajasthani words throughout the prose to keep it as close to the original as possible—for instance, mandana (a type of rangoli or mural art made on floors or courtyards in Rajasthan), choorma (a traditional Rajasthani dish made of crushed wheat flour dumplings with ghee), khejdi (the state tree of Rajasthan) and jharokha (an enclosed, overhanging balcony—a common feature in Rajasthani homes).

The stories range about everything from fortresses to castles, havelis and mansions, landlords, farmers, kings, constellations, trees, ghosts and animals. Each story begins with a quote talking about Bijji›s foray into the world of Rajasthani literature, progressively tracing his journey—from the time when he decided to start writing in his mother tongue, went back to his village and nurtured the craft and what he learned from his gurus. The book is also sprinkled with quotes by folklorist and oral historian Kamal Kothari providing his personal insights on collecting folktales.

Neha Kirpal is a freelance writer based in Delhi. She is the author of ‘Wanderlust for the Soul,’ an e-book collection of short stories based on travel in different parts of the world.

All her published work can be accessed on her blog www.nehakirpal.wordpress.com

STAYING HIP WITH KAMAKSHI SINGH

December 5, 2023, 1:59 am

Meet Kamakshi Singh, the hip and fit scioness from the house of Trilokpur in Himachal Pradesh. A few years ago, this Himalayan princess adorned the arid sands of Rajasthan with her jovial charm as the kunwaranisab of Pokhran and is the mother of a beautiful little boy. The intense transition caused by her familial and maternal responsibilities gave Kamakshi a special impetus to renew her twin passions of fitness and culinary indulgence. Not only has she redefined the meaning of a healthy life, but has done so while retaining unapologetic food indulgences within her fitness routine. Rajputana Collective is honoured to feature the diva in her own words:-

Mango Cheesecake.Brownie

Kamakshi Singh

“The two things that I couldn’t do without were sweating it out in the gym; and eating delectable restaurant-quality food. For more than two years, I had been working out consistently and was able to derive progressive results without switching to supplements or starving myself out.

I followed the simple technique of creating a caloric defict, not by eating less but by burning more. This way, I was eating whatever I wished to, and my affinity towards hitting the gym increased by manifolds.

In this pandemic scenario, I, like many others was devastated to be barred from the gym and eating out. In time, I realised that keeping priorities at bay and being ‘aatmanirbhar; was the best way forward. Hence, I began a home workout program with the online support of my fitness trainer. I also educated myself about callisthenics and was surprised to learn the scope of what I could achieve at home with minimal or no equipment.

Alongside this, my knack for experimenting in the kitchen made me try new recipes at home that were received very well by my loving family. I churned out an increasing range of treats under the label of EatWeaveLove and am motivated to share my handiworks with my friends and family. My husband is delighted to be at the receiving end of rich, fudgy brownies that he complimented me by equating with Theobroma!

Thus, it is the subtle art of health and wellness that has enriched my lifestyle and kept me driven throughout the lockdown.

Kamakshi readily shares one of her seasonal favourites for us all to try out in the kitchen and more importantly, to share the fulfilment that she derives out of baking:-

MANGO CHEESECAKE

Mix 200 grams of ground Digestive biscuits with 100 grams of melted butter, and refrigerate this mould as a base. For the filling, mix 3 ground mangoes with 200 grams of cream cheese, 200 grams of whipping cream, 150 grams of powdered sugar and 15 grams of gelatine. Pour this filling into the biscuit base and refrigerate overnight!

ACTOR CHANDRACHUR SINGH ON HIS SPLENDID COMEBACK WITH ‘AARYA’

December 5, 2023, 1:59 am

In 1996, he virtually made an entire generation groove to the pulsating beats of Chhappa Chhappa Charcha Kare in his debut film, Maacchis. His portrayal of a disillusioned, soft-hearted terrorist in the same film received many accolades including the Filmfare Best Debut Award. His second release, Tere Mere Sapne also proved to be a box office hit, and there was no looking back for Bollywood’s new chocolate boy ever since. A string of stellar performances followed, such as Daag - The Fire with Sanjay Dutt, Josh alongside Aishwarya Rai and Shah Rukh Khan and Kya Kehna in tandem with Preity Zinta. It would be no exaggeration to state that each one of these films gained the status of cult classics, and what was once a new face had, within the span of four years, evolved into Bollywood’s teen sensation and heartthrob. And thus, Chandrachur Singh had arrived.

However, just when the young star was gliding upon his wave of success, a serious shoulder impairment, coupled with a series of box office setbacks relegated the critically-acclaimed and commercially lauded actor into an indefinite sabbatical. But Singh knew in his heart that a true actor must know how to sustain hiatuses in his/her career as long as he stayed true to his art. And just like the unyielding fizz in a cauldron of uncertainty, Singh would continue to rise.

His decade-long wait ended when Mira Nair cast him in her film, The Reluctant Fundamentalist. The following year, Kumar’s Zila Ghaziabad showcased Singh’s mettle, which had only strengthened over the years. But before he could heave a sigh of relief, his patience was fated to extend over another seven years before he dazzled his audience in his digital debut as Tej Sareen opposite Sushmita Sen in the currently trending web series Aarya on Disney+Hotstar. Ram Madhwanis ‘Aarya is loosely inspired by the Dutch drama series Penoza by Peter Bart Korthuis and has received tremendous praise for its finesse. Shot on locations in and around Jaipur, Udaipur and Mumbai, Aarya is a multi-layered project which delves way beyond its professed crime-thriller theme.

When asked about his pilot web series, Singh exclaims- “It was a wonderful serendipity! I have always been a huge fan of Ram Madhwani, so when the opportunity arose to be part of Aarya, I instinctively accepted the offer.” He goes on to share that incidentally, Madhvani had designed Aarya much before his signature hit, Neerja, and pictured Kajol in the lead. Singh was to collaborate with Sushmita Sen on three separate projects but all failed to materialize. “So I was rather pleased when I finally got a chance to be her co-star. I am a firm believer of the divine and feel that there is always a right time and place for everything”, he graciously adds.

In tandem, Singh concludes by sharing his perspective on the recent boom of OTT (Over The Top) media services: “Good quality work doesn’t necessarily need to be defined by any one particular medium. The OTT boom has definitely put the focus on stories; there is a lot of content-driven material that is coming out now. It is an interesting time for an actor, for there is no longer any typecasting as was the scenario earlier.

On the contrary, web series enable one with the liberty to enrich a character with multiple dimensions and creatively speaking, that is very fulfilling for an actor”.

A cinematic buff would be able to spot striking similarities in Singh’s account with Sam Mendes’ 1917, which won worldwide praise for its iconic cinematography and its singularly shot narrative, sans any cuts or retakes. Similarly, Anurag Basu’s Barfi! represented the commercial enchantment of Bollywood upon adapting various scripts and commanding them with instinctual spontaneity. Aarya is the understated national variant of a similar style, and displays the tremendous possibilities that artists know not only how to seize, but also create.

STUDIO KISHANGARH HAS BREATHED NEW LIFE INTO THIS MINIATURE SCHOOL

May 6, 2022, 6:22 am

It is not very often that the much-revered pichwais of Kishangarh find their way into the heart of the Indian, contemporary art scenario. Yet last Friday art lovers saw them unveil their beauty in full splendor at Bikaner House, New Delhi. Whilst Vaishnavi Kumari, the chief creator and curator of Studio Kishangarh has breathed new life into this miniature school.

Princess Vaishnavi Kumari, Aakash Chaudhry, Princess Diya KumariNirvaan Singh with Princess Mriganka Kumari of J&K and Kumar Saaheb Padmanabh Jadeja of GondolThe Portrait of IP, an artwork in collaboration with Mr. Him Chatterjee, who is a sublime Artist and also the Chairman of the Department of Visual Arts, Himachal Pradesh University, Shimla.Haveli singersPrincess Sarveshwari Kumari with Their Highnesses Maharani Meenakshi Devi & Maharaja Brajraj SinghPrincess Diya Kumari of Jaipur, Princess Vaishnavi Kumari of Kishangarh and Khushboo BaggaStudio Kishangarh Artwork of Shrinath Ji

Deeksha Mishra

HH Maharaja Brajraj Singh & HH Maharani Meenakshi Devi

A forgotten art that grew under the patronage of the royal family of Kishangarh in the 18th century, it bloomed under the era of the two maestros, Bhawani Singh and Nihal Chand. In an era when the Mughals were driving away the practitioners of aesthetics, be it music, art or dance, evolved Rajput kings like Raja Savant Singh, who welcomed them into their court with open arms, giving them and their art a generous residency. The school is clearly distinguished by its individualistic facial type and its religious intensity. The sensitive, refined features of the men and women are drawn with pointed noses and chins, deeply curved eyes, and serpentine locks of hair. Their action is frequently shown to occur in large panoramic landscapes.

A carefully curated collection of stunning art pieces, ranging from pichwais that depict the majestic Shrinathji within the pristine setting of the Kishangarh Fort, verdant, majestic and rich in flora and fauna, to architectural art in hues of green to beige and a stunning installation that decodes every element of the pichwai, the exhibition opened with much grandeur as every royal made their presence felt. With Diya Kumari, the Princess of Jaipur, inaugurating the show, the opening night saw royal families of Jammu and Kashmir, Bhavnagar, Jodhpur, Bikaner, Nabha, Gondol, Patiala, Kapurthala amongst others enjoying haveli sangeet and absorbing the sheer beauty of the art.

Create A Mind or Beautiful Mind

When you have to represent an abstract form like intellectual property it requires metamorphosising the intangible into tangible and that’s just what renowned artist Him Chatterjee executed with his gentle but imaginative brush strokes. It required him to begin research with the help of celebrated IP lawyer Safir Anand, to come up with a portrait that depicts the soul of IP. The result was a painting that captured its nuances, both the genesis of knowledge and the interpretation of monetisation, as the colours reflect its effervescence. Mr Anand believes that IP can be given various means of expression, art, music, and food and should not be limited to just legality. The brain is the most important organ in the body and IP is about nurturing this treasure, thus, Him embarked on a research-based journey to present it through the depiction of the head, brain, eyes and nose, intermingling it with Hindu philosophy and almost humanising grey matter. The Gyan Chakra is placed on the head (circle and eyes), and the “H” and “Sha”, represent how everything will be destroyed in the end. The opposite triangle in the painting is about ‘balance’, an essential ingredient as intellectuality is lost without this potent force. Above the Gyan Chakra, the artist placed wisdom, without confusing it with the mind, as wisdom is not gyan it is the Brahma chakra. The egg in the portrait represents the source of creativity, or the fountainhead of ideas, placed judiciously in 1,000 petals, as IP’s job is to legally protect the brain from which emanates wisdom. Each part of the portrait is soaked in significance, whether it is the two hands holding the “Kalash”, which represents property, or the five leaves representing the five elements. The scriptures show Goddess Lakshmi holding a “pot” in one hand mirroring “property”, but here IP is not Lakshmi but Saraswati. The vibrancy of orange epitomises the power of knowledge as it is undeniably the ultimate deciding factor.

CULINARY INSPIRATION WITH DIVYARATNA SINGH MASUDA

December 5, 2023, 1:59 am

Looking for some culinary inspiration? Look no further. “Cooking is a great stress-buster. Once you get into the kitchen and start cooking/ baking, you forget everything else and when you relish what you’ve made, it gives you a sense of accomplishment and the push that we are all missing in this lockdown”, says Divyaratna Singh Masuda, a 27-year-old who has been enchanting his friends and social media followers with the wonders churned out of his home kitchen in Ajmer. Known amongst his dear ones for his legendary jungli maas, he is a keen explorer of the rich Indian cuisine and enjoys preparing lamb burgers as his all-time favourite recipe.

Divyaratna Singh Masuda.

An ex-Mayoite, Divyaratna completed his graduation from Sri Venkateswara College in Delhi, after which he began working in the field of PR and marketing for start-up restaurants. He then worked in the field of production before launching his own firm, ‘The Indian Roadster Co.’ to scout exotic, off the beaten tracks for inbound crews and those in search of unique travel itineraries around Rajasthan. A motorhead and rally enthusiast himself, Divyaratna has travelled across some of the remotest parts of the subcontinent. He is also a distinguished shooter with an impressive track record ever since he started shooting in 2008.

When asked about the inception of his passion for cooking, Divyaratna says, “my inspiration for cooking came from my food enthusiast father, as well as my own love for food. The satisfaction of feeding your friends and family encourages me to cook, especially for those who appreciate good food. I think my travelling also played an important role- wherever I went. I wanted to try the local food and learn how they made it and what local ingredients they used, which made every dish taste so different.”

DIVYARATNA’S RECIPES

1. Adraki Chaapein

Ingredients

10 Lamb Chops

1 Cup Curd

½ Cup Onions, finely chopped

3 Tbsp Ginger, finely chopped

1 Tbsp Garlic, finely chopped

1 cup Tomatoes, peeled & finely chopped

1½ tsp Black Pepper (freshly roasted & coarsely ground) Salt

4-5 Green Cardamoms powdered

1 tsp Javitri powder

1-inch ginger cut into Juliennes

3 Tbsp Lemon Juice

Preparation

1. Whisk yoghurt in a large bowl, add all ingredients, except cardamom, mace and lemon juice, and mix well. Evenly rub the chops with this marinade.

2. Arrange the chops in a skillet or frying pan, pour on the remaining marinade, cover and let it sit for two hours.

3. Uncover the skillet/frying pan with the marinated chops, place it on the stove, bring to a boil over medium heat, reduce to low heat, cover and simmer until the chops are tender. Remove the chops and keep warm. Reduce the gravy until of sauce consistency. Then sprinkle the green cardamom and mace powder and stir. Remove, stir in lemon juice and adjust the seasoning.

Garnish with ginger juliennes.

2. Biryani Gulab-E-Nazakat

Ingredients

For the marinated mutton

250ml Curd

6 garlic cloves, finely crushed

2½in (30g/1oz) piece ginger, finely grated

3 green chillies, finely chopped, with seeds

1 tbsp Kashmiri chilli powder

1 tbsp ground coriander

½ tsp ground turmeric

500g Mutton

For the crisp fried onions

300ml oil

3 medium onions, thinly sliced

For the gravy

100g ghee

10 whole cloves

2½ inch piece cinnamon stick

5 green cardamoms

2 bay leaves

1 tsp cumin seeds

2 medium tomatoes, chopped

Salt to Taste

For the rice

600g basmati rice, soaked in cold water for an hour

2 tsp salt

To assemble

100g ghee pinch saffron soaked in 4 tbsp warm milk for 15 minutes

2 tbsp Rosewater

2 tbsp Kewra Water

10-12 Rose Petals

1 Chandi ka Vark

Preparation

1. In a shallow bowl large enough to contain all the Mutton pieces, combine all the marinade ingredients. Toss to coat well and then set aside to marinate for an hour.

2. For the crisp fried onions, heat the vegetable oil in a sturdy pan or karahi over medium heat until hot but not smoking. Add the onions and fry for 10–15 minutes, or until deep golden brown. Remove with a slotted spoon and drain on a plate lined with kitchen paper. Set aside.

3. For the gravy, heat Ghee in a Handi, Add the whole spices to the pan and fry for one minute. Add the mutton and its marinade, bring to a simmer, then stir in the tomatoes and salt. Simmer over medium heat until the mutton is cooked through and there is a thick gravy. Keep it warm on low heat while you cook the rice.

4. For the rice, drain the soaked rice and tip into a large pot of boiling salted water for 5-7 minutes, or until the rice is just tender but still firm. Drain well. The rice should be soft and break up at the edges, but stay firm in the middle.

5. Assemble the biryani straight away while the rice is still hot. First pour about three tablespoons of water and half of the ghee into a deep, heavy-based handi, then spoon in a third of the rice. Sprinkle over about a third of the saffron milk and rosewater, then spread with half of the Mutton mixture and a third of the fried onions. Add another third of the rice and repeat as above, using the rest of the mutton. Top with the remaining rice and splash with the remaining saffron milk and rose & kewra water. Set the remaining fried onions aside for now. Drizzle the remaining ghee around the edges of the rice so that it drips down the inside of the handi. Put it on dum for about 30 mins on low heat.

Serve with Raita.

3. Chocolate Fudge Pie

Ingredients

¾ Cup plain flour

¼ Cup butter, chopped into pieces

2 tbsp icing sugar

1 tsp ground cinnamon

3 large eggs

1¼ Cup brown sugar

1 tsp vanilla extract

¾ Cup butter, melted

50g plain flour

50g cocoa, plus extra to serve

50g Walnuts, chopped

50g dark chocolate, chopped ice cream to serve

Preparation

1. Knead the flour, butter, icing sugar, cinnamon and 2-3 tbsp water until it comes together. Wrap in cling film and chill for 20 mins.

2. Heat oven to 180°C. Roll out the pastry on a lightly floured surface and use it to line a deep 9-inch loose-based tart tin. Leave the excess pastry overhanging the edges of the tin. Line with aluminium foil, fill with beans and chill for 15 mins.

3. Bake for 15 mins, remove the foil and beans, then bake 5 mins more until the pastry is crisp.

4. Beat the eggs and sugar together to create a mousse-like texture. Stir in the vanilla and melted butter, then fold in the flour and cocoa. Scatter the nuts and chocolate over the pastry case and pour the filling on top. Bake for 30 mins until firm with a slight wobble. Trim away the excess pastry and leave to cool.

5. Serve at room temperature or warm, with a scoop of ice cream.

Image, content and recipes courtesy: Divyaratna Singh Masuda

KISHANGARH’S MYSTICAL COW AND HOLY DEITIES COME TO BIKANER HOUSE

April 29, 2022, 4:24 am

Princess Vaishnavi Kumari of Kishangarh presents The Path of Grace, a solo art exhibition, created in Studio Kishangarh by artists who have had this vocation in their families for generations. Held between 28th April to 5th May, the show will present art inspired by the Kishangarh School of Miniature Painting founded by the royal family nearly 350 years ago. Followers of Pushti Marg or the Path of Grace engrossed themselves in the teaching of Vallabhacharaya and Krishna Bhakti. This influenced the culture and daily lives of the rulers and people of Kishangarh which led to an art form that today is considered iconic.

Princess Vaishnavi Kumari of Kishangarh.

Studio Kishangarh Artwork of Shrinath Ji.

Studio Kishangarh artwork Picchwai painting of Shrinath Ji.

Studio Kishangarh artwork.

Shares Vaishnavi, “For me, art is all about preserving heritage and continuation, Studio Kishangarh is an amalgamation of old aesthetics and techniques with new materials and concepts. Housed in the Kishangarh fort, it aims to preserve miniature painting by giving employment to local artists and artisans. The focus in the past decade has been to develop the Studio Kishangarh style. This unique art style uses miniature painting and Picchwai techniques in a modern way. These contemporary works often take inspiration from our family’s art collection, the architecture of the forts, palaces of Kishangarh, and even poetry written by my ancestors.”

The exhibition takes inspiration from living cultures of music and poetry capturing the elements of Vaishnavism. With art inspired by the Kishangarh miniature and Picchwais as the central narrative, the show also presents haveli sangeet. On view will be a short film that captures the architectural beauty of the Phool Mahal, built on the banks of Gundalao Lake, the pleasure garden in the midst of the lake and the majestic Kishangarh fort with its frescoes and imposing walls. An art installation that decodes a Picchwai, a craft pop-up to support the artisans of Kishangarh and calligraphic excerpts from Vaishnavi’s ancestor the poet prince Savant Singh or Nagari Das are the other highlights of the show.

This exhibition is listed as a parallel show to the India Art Fair. It formally opens on 29th April with a talk on the emergence of the school in the 18th Century by Maharaja Brajraj Singh, an authority on the subject.

An amalgamation of old aesthetics and techniques with new materials and concepts, the Studio Kishangarh school, developed over the last decade by Vaishnavi, creates modern adaptations of miniature paintings and Picchwai techniques. The eclectic art on display at the show are contemporary works that take inspiration from art in the royal collection, the architecture of the forts and palaces of Kishangarh and devotional poetry. Lord Krishna and the Kamdhenu cow emerge often as the pet theme of the artists.

Situated at the heart of Rajasthan, the Rajput kingdom of Kishangarh founded in 1611, has a rich and cultured past. Its rulers were great patrons of art, music and literature. Vaishnavi, its present-day scion, a SOAS graduate, set up Studio Kishangarh in 2010 in an effort to inject new patronage into the traditional art form of miniature paintings. With her training in design and art history as well as maintaining the royal family’s tradition of supporting cultural fields such as art, music and literature, she endeavours to bring Kishangarh art to a global audience. Housed within the family held Kishangarh fort, it aims to preserve miniature painting by giving employment to local artists and artisans.

The Kishangarh School was founded 350 years ago. Influenced deeply steeped by Radha Krishna bhakti and the splendour of the natural beauty around the environs of Kishangarh, the art has a uniquely ethereal almost mystical quality. In fact, miniature paintings produced under the guidance of Raja Savant Singh by artists like Nihal Chand are hailed as Indian masterpieces. One just has to just look at the Radha Kishangarh, famously known as the Mona Lisa of India, to see the synthesis of great thought, patronage and artistic brilliance.

An art installation that decodes a Picchwai, a craft pop-up to support the artisans of Kishangarh and calligraphic excerpts from Vaishnavi’s ancestor, the poet prince Savant Singh or Nagari Das are the other highlights of the show.

JHABUA’S PATRONESS OF THE ARTS: NANDINI SINGH

December 5, 2023, 1:59 am

The Gond art form remains the legacy of one of India’s largest tribal communities, the Gonds. Spreading over the deccan, central and eastern India, these indigenous people have been perfecting painted and carved art for over 1400 years. Dating back to the Mesolithic Period, Gond art can be found on the walls of ancient caves. A more popular expression of Gond art over the centuries is found on the mud-plastered floor and walls of Gond homes, chiefly for the totemic symbolism that the tribe attaches to these images. As per age-old Gond beliefs, good images warded off evil spirits.

Gond art is oftentimes referred to as On Line Work, for being premised on carefully drawn inner and outer lines of striking precision. The imaginative and inventive usage of these lines imparts in each still image, a sense of movement. Gond gods and goddesses, myths, folktales, birds and animals formed the earliest set of subjects in Gond art. Natural colours obtained from flowers, leaves, and stones continue to reign the format of Gond pigments, be it on walls, floors, papers or canvas. The latter two mediums, namely paper and canvas were only introduced to the world of Gond art in the twentieth century by Jangarh Singh Shyam. A Pardhan Gond from Madhya Pradesh’s Patangarh, he was the first Adivasi artist to have his artwork ‘Landscape with Spider’ sold for US$ 31,250 at Sotheby’s, New York in 2010. Hailed to usher in the Jangarh Kalam school of Indian art, the artist’s work is largely inspired by traditional Gond tattoos.

Jangarh’s legacy is being continued by his various family members and relatives who have earned their independent repute as modern-day exemplars of Gond artistic finery. However, they have lesser-known contemporaries who are busy making more humble depictions of mythological parables and folklore. Given that Gond art is a highly affordable art form, it carries a gargantuan market, rife with competition and variety.

Amidst this bustling Artscape, Rajputana Collective converses with Nandini Singh, a renowned patron and custodian of Gond art. Hailing from the princely family of Jhabua in Madhya Pradesh, Nandini takes us through her journey as an art revivalist. In this exclusive feature, Jhabua’s scioness enunciates a rediscovery of her purpose and roots through a spirited promotion of the Gond art form amongst several others.

Sitting in her parents’ home, Nandini admires walls adorned with photographs of her ancestors. Their myriad acts of community service, in the form of educational, infrastructural and employment generating endeavours fills her with a sense of pride. They helped enlighten the future of Jhabua and its people, and as Jhabua’s daughter, Nandini finds it her primary duty to carry forth her family’s philanthropic efforts.

Upon returning from the United States, where she served Deutsch Bank and her husband’s restaurant ventures, Nandini consciously stepped inside the world of Indian art. Until then, she had carried an eye for native art forms and often used her inborn gift for aesthetics to advise her friends to make investments in Gond art. Thus, from being a skilled spectator, she was a purpose-filled stakeholder driven by a vision. What was merely a hobby formalised into a conscious choice to curate Indian art forms.

Nandini begins, “Upon returning from the US, something that inspired me was seeing many wonderful women in India, especially from the royal lineage bring art, textiles and jewellery from their states and regions to various cities through the exposition called Royal Fables. In doing so, not only were they giving back to their artisans, but also helped restore India’s age-old culture and heritage. I was amazed to see their sheer will to promote different artisans and bring their work to prominence. This initiative made me go back to my ancestral home of Jhabua wherein I connected and worked with tribal artists to enhance their creativity with ideas and vision.”

Her revivalist efforts began after Nandini collaborated with artists in Madhya Pradesh’s tribal belts, such as Jhabua and the neighbouring area of Alirajpur. The recent U.S. return had found her purpose in taking charge and bringing the handiworks of Gond artists to prominence. Discerning the patronage that governed Indian art in princely times, Nandini committed herself to keeping that patronage alive in the twenty-first century.

Apart from joining Royal Fables’ dazzling fleet to exhibit her curation, Nandini also utilises the twin mediums of social media and private home gallery viewings. “In promoting local art forms, I find myself drawn closer to my roots. As an art custodian, I believe that all that native artists really need is vision and direction. I am looking for a global opening for the Gond art form in particular, as well as some international collaborations. In the meantime, I am working closely with Madhya Pradesh’s art and culture ministry in order to push Gond art to the national forefront. I hope for a Gond Art School to harness tribal art and talent in the near future”, she adds.

She reports having a tie-up with galleries based out of Sri Lanka and Washington D.C. to promote aboriginal Indian art. Moreover, Nandini makes frequent attempts to tap into homes, hotels and interior projects with designers as prospective spaces to exhibit Gond art. She mentions a recent collaboration with Marina Shaikh’s Rising World Foundation, wherein she acts as the head of communications and fundraising. It is here that her work with Gond artisans is being streamlined as a potential fundraising medium to help alleviate the hardships of many communities after the aftermath of Covid. Nandini sees two of her life’s greatest passions, namely, patronising local art forms and community service congregating for the collective welfare of all. Her curational gamut also extends to wildlife art, Islamic calligraphy art and antique Pichwais.

To conclude, Nandini leaves us with a poignant take on the importance of preserving tribal art heritage. In her own words, “Art and heritage have always been a unifying space, which is borrowed from one era and reinvented in another, keeping us connected to the past. It is through art that we identify with cultures. It is through art that the artisan marks his existence, it is through art that we express without words. Hence for me, the importance in preserving our culture and heritage is of paramount importance. Not only do I bring Gond art to the forefront, but I am also working on reviving Islamic calligraphy art. My art collection weighs significance to the talent of art in our country, focusing on the natural flora and fauna that is the soul of our existence. My goal is to revive this art and bring the artist and their talent to prominence, locally as well as globally.”

ODISHA’S TALCHER PALACE GETS STAMPED IN POSTAL ARCHIVES

April 15, 2022, 4:22 am

India’s first adhesive stamp, known as the ‘Scinde Dawk’, was introduced in 1852 by Sir Bartle Frere, the Commissioner of Sindh. The production of Indian postage stamps came into the regular curriculum soon after, and the first set of stamps valid for postage throughout the country were placed on sale by 1854. Postage stamps may have been initially created as tokens of mail receipt, but with the passage of time, they took on the additional responsibility of being cultural ambassadors, evolving into visually appealing modes of celebrating national heritage.

Special Cover and Special Cancellation featuring Talcher Palace.An old photograph of the Singha Dwar, Talcher Palace.Singha Dwar, the front facade of Talcher Palace.Release of the Special Cover and Special Cancellation featuring Talcher Palace.

In the years following India’s independence, stamps have been effectively used to highlight the nation’s achievements in diverse sectors and showcase its illustrious legacy of art, craft and architecture. Carrying this trend forward, the Department of Posts, Government of India recently commemorated the front façade of Talcher Palace, Odisha by releasing a Special Cover and Special Cancellation featuring its entrance gate known as the ‘Singha Dwar’ or the Lion Gate.

Odisha’s coal city was buzzing with excitement well ahead of this much-awaited occasion. The lanes and by-lanes displayed brightly printed hoardings carrying details of the event, and the local radio made repeated announcements about how it was a moment of pride for all the residents of Talcher that its ‘Rajbati’—the royal residence, was being archived in the philatelic realm.

Expressing his joy on the occasion, Raja Rajendra Chandra Deb of Talcher said, “It is an honour for us that a piece of architecture from our town has been handpicked by the Department of Posts, Government of India. From now on, people across the country will be acquainted with an interesting chapter from Talcher’s history through the medium of this Special Cover and Special Cancellation.”

The event commenced with a powerful warrior dance by the ‘Paikas’—the descendants of the former royal bodyguards, who ceremoniously escorted Raja Rajendra Chandra Deb and Yuvraj Vijayendra Chandra Deb of Talcher to the venue. The unveiling of the Special Cover and Special Cancellation was done by the father-son duo along with the Collector of Angul Siddharth Shankar Swain, veteran political leader Ravi Narayan Pani, Superintendent of Posts Jagdish Das, eminent philatelist Ajit Kumar Rout, and other dignitaries.

Cabinet Minister for Education and Skill Development & Entrepreneurship, Government of India Dharmendra Pradhan, Member of Parliament, Talcher Mahesh Sahoo, and Member of the Legislative Assembly, Talcher Braja Kishore Pradhan also joined the event virtually and sent their best wishes on this occasion.

Addressing the gathering at the event, Yuvraj Vijayendra Chandra Deb of Talcher said, “I remember reading in the news a few years ago, how the Department of Posts had released a set of eight commemorative postage stamps featuring the historical gates of regal India like the Jorawar Singh Gate in Jaipur, Kote Gate Bikaner, etc. I am delighted to see our Singha Dwar joining the company of such magnificent structures.”

‘Singha Dwar’ was built by Raja Ram Chandra Birabar Harichandan of Talcher between 1868 and 1875 under a famine relief scheme to provide ‘food and employment with dignity’ to the people of this region. Like all Indian famines of the 19th Century, this one was also preceded by drought. The population of the region largely depended on the rice crop for sustenance, but an early and scanty monsoon broke their backs. Moreover, the casual export of food grains under the British regime and lack of prompt action towards crises management further aggravated this outbreak. In order to battle this crisis, the benevolent ruler of Talcher along with his advisors rose to the occasion, and came up with the plan to construct the ‘Singha Dwar’. This created an earning opportunity for the farmers as well as for all the others in need, aiding the resurrection of the socio-economic structure of this area.

As for the architectural aspects of this seventy feet tall monument, there are two lion statues standing imposingly on either side of the main entrance—a trend commonly found across Odisha at the entrance of temples and royal residences. There is a wheel with fourteen spokes at the centre that could possibly be inspired by the Konark Temple. The crescent-shaped structure right on top remains the most spectacular element of this monument, invoking a sense of awe among visitors. While this monument is a popular attraction among the people of this region and draws several tourists each day, it witnesses larger crowds during festivals like Dussehra when people pour in great numbers to participate in the ceremonial processions passing through this gate.

For centuries, the dexterous artisans of Odisha have wielded their magic under royal patronage to create magnificent constellations of architecture throughout the state. With the release of this special commemorative cover on Talcher Palace, the Department of Posts has certainly bestowed a well-deserved honour to a glorious structure built on the foundation of philanthropy.

TAKING THE WOOL ROAD

December 5, 2023, 1:59 am

Amongst the famous network of trade routes of the world, the Silk Road connecting China, Central Asia and India is undoubtedly the most popular. However, other significant trade routes of ancient stature are lesser-known, and their impact on present-day culture and commerce remains obscure. One such trade route, more informally known as the Wool Road connected the plains of Punjab to Tibet, Central Asia and China. On its long route from Punjab to Tibet, the Wool Road traversed through Himachal’s Kullu and Kinnaur regions. Initially a mere donkey trail, a boost in trade contributed to the route’s widening for motor-able transport known as the Hindustan Tibet road.

Kinnaur shawl being woven.Close-up of Himachali shawls.

The weaver arranging the wool in the loom.

The strategic location of the Kullu & Kinnaur regions on this important trade route offered an unmatched advantage to the weaving communities settled herein. Over centuries, their weaving traditions both inspired, and in turn were inspired by the trade influx they received. Their exalted reputation for simple and elegant designs, fine fabric and premium manufacturing quality endures. However, it is surprising to note that these distinct and skilful weaving styles remain relatively unknown to the outside world.

This five thousand-old tradition of weaving came to being in Kinnaur via possible Uzbek, Chinese and Tibetan influences via the Wool Road. In the Kinnauri village of Shubnam, a master weaver named Dhuni Chand is hailed for being the first artisan to weave decorative motifs on wool garments. What followed was nothing short of an iconic legacy that would forever change the landscape of Indian textile, and the destiny of Himachali trade. Today, Himachali handloom stands amongst the foremost contributors of state wealth in tandem with tourism and agriculture.

The significant influx of the Kinnauri weaving tradition into the Kullu valley was coincidental at first, but its gradual infusion makes it seem almost obvious in present times. This story dates back to the 1830’s, when weavers of Kinnaur’s Rupa village fled to the Kullu valley in order to escape persecution from their local king. The newly migrated community of Kinnauri weavers soon began to teach their pattern craft to the Kullvi people, and were duly incentivised.

Prior to the arrival of these Kinnauri weavers, Kullvi weaving was restricted to variations of twill weave, checks and plaids. The shawls and pattus of Kullu were devoid of any kind of motifs. In fact, border patterning, as well as the red selvedge border known as the khanni or khushti first appeared on pattus in the 1920s, which is almost 93 years after the Kinnauris first migrated to Kullu. Even contemporary bright and bold patterns used in Kullvi shawls originate from Kinnauri motifs that were enlarged and simplified over time. Yet, what distinguishes the Kinnauri weave from the Kullvi is the latter’s particular use of bold, graphic style which lack in the more sophisticated weaving heritage of Kinnaur. Moreover, Kullvi weaving techniques use a double thread for patterning, which results in a somewhat coarser design as compared to the Kinnauri ones.

Even the idea of the patterned Kullvi shawl stemmed out of the pattu, which was originally inspired from the Kinnauri chhanlis, lengchas, and dohrus. Kullu’s master weaver, Tenjenram Bhagat is credited for weaving the first Kullu shawl. A Mrs. Bhagwandas is believed to have commissioned Bhagat a Kullvi pattu in 1942 in pashmina yarn with design specifications provided by her. Over time, Bhagat was also known for starting the valley’s first weaver’s cooperative society. Since then, a plethora of weaving cooperatives has followed, amongst which Bhuttico and Bodh remain the most popular.

Wool, sheep fleece, important Australian merino, Pashmina and Angora wool constitute some of the prime weaving fabrics. The most common Kullvi shawls produced for commercial purposes bear a ground woven mill-spun merino that is dyed in chemicals. Thereon, brightly coloured acrylic yarn is used to weave the border motifs. Local pattus and dohrus continue to be woven in sheep fleece and yak fleece.

The popular Himachali wool caps too come in several variants, such as the Rampuri, Kinnauri and Kullvi topis. The Kullvi caps carry several iconic motifs that have come to be associated with the Kullu valley and its weaving tradition. For example, there is the Chiriya motif, which depicts a flock of birds in the form of small crosses in various colours, usually arranged in diagonal patterns. Dabbidar Kiru is another Kullvi motif that represents a spotted snake. Guddi is a stylised doll with raised hands, while Kanghu depicts a comb; Tara, a star. Floral motifs are simply called Phool and the religious Swastik symbol too, dominates several motifs. The list of motifs, patterns and weaving designs carries on, and many housewives too can be seen operating looms as an added source of income in their sunlit balconies and foyers. This heartening display of handloom culture outside of formal cooperatives is a common sight for trekkers, wanderers and even drivers in and around the Kullu Valley.

The recent liberalisation policies, the rising cost of raw material and the competition posed by the loom sector poses the weaving communities of Himachal Pradesh at risk. Hand weavers across India face similar challenges and are struggling to survive. Several weaving communities are migrating to other fields of work to escape poverty and unemployment in their ancestral craft. The concept of ‘jalas’ to record motifs is scarcely used in Kullvi and Kinnauri weaving, which further endangers several motifs. In bringing these dying crafts to a larger, discerning audience is the only way to help create a wider market that appreciates and patronises these artisans’ products.

Urvashi’s Retreat, Manali has recently launched its gift shop that showcases the diverse handicrafts of India’s vivid artisanal communities.

ROYAL COOKING TALES BY TIKARANI SHAILAJA KATOCH

April 8, 2022, 6:36 am

All of royal cooking tales stem from one state tucked away in the border between Madhya Pradesh and Rajasthan: Sailana. Generations of royal food enthusiasts swear by the book ‘Cooking delights of the Maharajas’, penned by Maharaja Digvijay Singh ji of Sailana. Ably carrying that mantle forward his scion, Tikarani Shailaja Katoch of Lambagraon-Kangra goes down memory lane and shares two famed recipes from her grandfather’s recipe book.

Tikarani Shailaja Katoch.

SAILANA DAL

Sailana Dal

• Preparation time: 30 minutes

• Cooking time: 1 hour

• To serve: 6-8 persons.

½ kg. yellow lentils (toovar dal)

3 gms. turmeric

250 gms. ghee

1½ gms. soda bi-carbonate

18 gms. garlic chopped

12 gms. molasses

a piece of asafoetida the size of pepper corn

25 gms. green chillies whole diluted in water

6 gms. cumin seeds powdered

30 gms. salt

45 mls. (1 ½ ozs.) lime juice

9 gms. red chillies powdered

.2 tbsps. fresh coriander leaves chopped.

• Heat the ghee and fry chopped garlic to a golden brown. Add asafoetida and enough water to cook lentils. When it starts boiling, add lentils along with salt, red chillies, turmeric, soda bi-carbonate, molasses and green chillies. Cover and cook. When cooked, it should be of thick consistency. Add cumin seeds, lime juice and coriander leaves, and stir.

MURGH MUSALLAM SAILANA

Murgh Mussallam Sailana.

• Preparation time: 1 hour

• Cooking time: 1½ hours

• To serve: 4-6 persons.

1 chicken whole weighing 500 gms. To z600 gms. dressed and skinned

25 gms. poppy seeds ground with water

25 gms. coconut grated and ground

25 gms. ghee for frying masala with water

4 cloves whole

6gms. coriander seeds powdered

2 cinnamon sticks 2” length

6 gms. salt

2 black cardamoms whole

12 gms, almonds blanched and chopped

2 bay leaves

12 gms. raisins chopped

1½ gms. mace whole

90 gms. ghee for chicken

60 gms. onions thinly and evenly sliced

6 gms. salt

12 gms. ginger scraped and ground

240 mls. (8 ozs.) milk

12 gms. cashewnuts ground with water

60 gms. curd.

• Preferably, dress the chicken 12 hours before cooking it. Remove the skin. Cut out the oil sac, that little protuberance at the tip of the tail. Clean, wash and dry well. With a string tie neck, wings and legs close to the body. This will be otherwise difficult once the body of the chicken gets stiff.

• Prepare the chicken as above. Heat the ghee and fry separately cloves, cinnamon, black cardamoms, bay leaves and mace lightly. Grind them together with water and keep aside.

• In the same ghee fry sliced onions to a golden brown. Remove, crush coarsely and keep aside.

• In the same ghee add ginger, cashewnuts, poppy seeds, coconut, coriander seeds and salt, and brown them lightly. Add chopped almonds and raisins. Add to it the above fried ground garam masala and fried crushed onions. Mix well.

• Fill the above mixture in the chicken. (If the stuffing is in excess keep it aside to be used later on.) Close the cavity by placing tooth picks across and lacing together with a string.

• Heat the ghee. Add chicken and fry till golden brown. Add salt and milk, and enough water to cook it. Cook covered on a medium fire. When tender and very little liquids remain, add curd. Excess stuffing, if any should be added also. Reduce the heat to the minimum. Put on dum till the gravy thickens and ghee films on the surface of the gravy.

‘FREEDOM I LIVE WITH IS MY ARTISTIC INSPIRATION AND FOCUS’

December 5, 2023, 1:59 am

Ramathra’s Uditchandra Pal joins Generation Z’s fleet of creative youngsters in finding his expression in artistic forms. As a child, he tried his hand with the colour palette and graphite but found lesser satisfaction with these mediums. Udit eventually turned to photography as his dominant art form and hasn’t looked back ever since.

“I learned ways to paint with my camera. I’m a documentary photographer who wants to see and show the world the story of the lands he lives in, which could be anywhere! I photograph life. I’ve photographed Bombay, Bangalore, Goa and now the greater Ranthambore landscape of Kailadevi in Rajasthan with a Fujifilm, a Nikon and my smartphone. I feel I can make a good photograph of anything or anyone if I get the time I need! In my Instagram work, I don’t follow any photographic rules, never unethical but always free”, says the young visual artist. Udit’s work can be followed via his Instagram handle, @uditchandrapal .

Udit’s short stint at Goa’s The One School, followed by collaborations with several photojournalists in Mumbai provided him with the chance to further hone his photographing skills. He expresses his gratitude for belonging to a privileged family, as a result of which he can flaunt his creativity without being concerned about its commercialisation. Instead, Udit aspires to pay an ode to his homeland through his photographic work. He is highly conscious about upholding his inbred values of conservation and sustainability throughout his artistic conduct.

Speaking of which, he elaborates, “I’m lucky my family lives a sustainable and simple life in the wild at our home in Ramathra, and have always thought about giving back to the land. The freedom I live with is my artistic inspiration and focus. Conservation, coexistence, and sustainability are what our future depends upon, and I’m working on it.”

THE GARDEN CITY GETS A FLAVOUR OF ROYAL HERITAGE WITH ROYAL FABLES

April 1, 2022, 6:28 am

Of all the roles one plays, that of leading the heritage platform Royal Fables fulfils me the most. Especially when the ones to witness the sheer gravitas of this old world ‘fable’ is as evolved as the heritage seekers of Bengaluru. Hence, when nearly two years ago, Revathi Raju, Chairperson, FICCI Flo, Bengaluru Chapter called me asking to bring the heritage exposition to her city, I was beyond thrilled. It was November 2020 and wave one of the Covid-19 pandemic had just subsided. We were parked in our cottage in the hills, still scared to step out into the city of Delhi where Covid presumably awaited us at every corner. An exposition, a physical one seemed impossible. But we went on planning, doggedly between waves, tsunamis and ripples of the pandemic. Three cancelled attempts later, here we were in The Leela Palace, Bengaluru thrilled to see the fable unfurl finally.

(L-R) Revathi Raju, Chairperson 21-22 Ficci Flo,Nidhi S BBG Royals, H.H. Maharani Radhika Raje Gaekwad, Anshu Khanna.H.H. Maharani Radhika Raje Gaekwad and Prasad Bidapa in conversation.(L-R) Anshu Khanna, Founder, Royal Fables and Revathi Raju, Chairperson, 21-22 FICCI Flo.(R-L) Anshu Khanna, Ambika Raje Ghorpade Sandur, Revathi Raju and H.H. Maharani Radhika Raje Gaekwad.H.H. Maharani Radhika Raje Gaekwad, Revathi Raju, Yashodhara Shroff and Shubha Kulkarni.The royals guests at FICCI Flo X Royal Fables celebrations.

Safir Anand, IPR lawyer and brand evangelist.

At a one day exposition, 15 royal brands and 12 heritage studios presented ‘hand’ made in India at its finest. As members of leading royal families including Baroda, Sandur, Kangra, Kishangarh and Pratapgarh came together, the VIP dinner the night before had three young royals present their culinary legacy. From the temple cuisine of Kangra by H.H. Rani Shailaja Katoch of Kangra-Lambagraon to the famous laal maas of Bikaner, the recipe of which was shared by Princess Mahima Kumari of Bikaner to desserts rustled up by patisserie chef Anushka Raje Ghorpade, the dinner was the Raj era relived. The khatta kaddu gaining as much importance as the laal maas and the bhature and chana of Kangra sweeping the South palate off its feet. Full marks to Zafar Ali, Executive Chef, The Leela Palace Bengaluru, who interpreted the recipes to perfection.

Revathi Raju exclaims, “It was an honour to bring this exhibition to Bengaluru that celebrates and revives old crafts and promotes our traditional weavers. The idea of hosting the Royal Fables exhibition in Bengaluru has been brewing in my mind for a long time. Through this association, generations young and old can traverse through our textiles and designs from the royal past, bringing it into the present and finding a way to sustain it in the future.”

A float captured the ‘Nafasat of Avadh’, the delicacy of a life lived by the Talukdaars of the region, three scions of this heritage, sisters and Princesses of Pratapgarh, Alka Rani Singh and Rani Archana Kumari Badnore along with Kanwarani Kamini Singh Seohara unveiled the gracious life of royal Uttar Pradesh. Its beauty rituals poshaks, paan potlis, silver etc. A cameo of the exhibition held on 29th March at Royal Ballroom was unveiled. Prasad Bidappa conversed with the royal delegation on stage along with art historian Cynthia Meera Frederick.

Shares Anshu Khanna, Founder, Royal Fables, “Bengaluru is a city that is steeped in culture. The world looks up to it for its royal palaces and pleasure gardens. I am thrilled to be able to bring our regal story to the city with the dynamic women of FICCI Flo.”

Another precious highlight was a talk by celebrated couturier and costume collector Umang Hutheesing on design over the years. He conversed with Safir Anand, a leading IPR lawyer and brand evangelist.

The exhibition, inaugurated by Ambika Raje Ghorpade Sandur, presented 30 rare craft stories curated from across the country. Block printed cottons by Rani Jaykirti Singh Baria, art inspired chiffons by BBG Royals from Awagarh. Embellished formals from Rosetree, restoration stories by Rang Riwaaz, rare embroideries by Charu Saigal, embroidered chiffons by Preeti Rathore, Daspan, Patan Patolas by Nirmal Salvi, elegant jewels from Amrita Rana Nepa as well as antique border saris from Ashok Maaney, a designer from Bengaluru were on display.

ROYAL HOLI CELEBRATIONS

March 25, 2022, 3:21 am

Udat gulal lal bhayo badal

Aaj biraj mein holi re rasiya

Holi the festival of colours is celebrated by Raja and Praja alike. Symbolic of the seamless love shared by Radha with her Krishna, the festival also signifies the end of evil and the triumph of Narasimha over Hiranyakashyap. Holi also heralds the arrival of Phagun and calls for asking the Gods for a good harvest.

Holi with Le Creuset.City Palace Holi.Kangra miniature.

Holi is one festival that the royal families celebrate in a distinct style. Right from dressing in a particular style, burning the Holika the night before, drenching themselves in colours made from flowers and following a series of rituals. As the idea of Covid seemed to settle like dust around frayed nerves and people after years decided to play Holi in its most engaging form, we catch up with Holi as celebrated in two regal homes of India.

The first stop was Jaipur where the royal family helmed by HH Maharaja Sawai Padmanabh Singh sees Holi as that time of the year that must be celebrated in utmost style. Holi 2022 saw over 250 guests join the family in the celebration. First of all, were the families of the many nobles who were part of this Princely court and now live in the various Havelis of Jaipur. Then there was the hoi polloi of the city, young and celebrated people, many of whom are jewellers and then came the global celebrities who are friends of the young royals: Padmanabh and Gauravi. The night before for Holika Dahan in ceremonious style the family sat before their guests, nobles of their state greeted them. The city got to meet the grande old lady HH Rajmata Padmini Deviji after many days. Also sitting on the dais were Princess Diya Kumari, now a strong emerging voice of BJP in Rajasthan, the young princess Gauravi who has ably taken the reins of her mother’s NGO, Princess Diya Kumari Foundation. Also joining her cousins was young Sarveshwari, the Princess of Kishangarh and a national level trap shooter. Phagun calls for all to dress in the phaguniya colours: red and white. Hence the women wore red and white poshaks and saris, embellished and tie and dyed. And the men wore white achkans. A large fire was lit and Holika Dahan welcomed with sounds of drums and conch

Another interesting Holi interlude was with Alka Rani Singh and her daughter Yashodhara Singh. Alka, a Princess of Pratapgarh near Allahabad, collaborated with Le Creuset to put together a typical Holi celebratory feast reminiscent of the one that was made at home. Alka says, “It was a time to celebrate the crop. So it was time to eat aloo kachalu, kachhi aam ke murmure, and hare chane ka halwa.Potato and its brother sweet potato get cooked together in a simmering, spicy curry. To go with that is a crunchy murmura chaat and to end it all is the gujiya that we make with kesar and the halwa made from sweet peas that grow in abundance in this season.”

Shares Alka, “The women of Avadh dip-dyed their muslin saris in shades of yellow. With that worn, we would play Holi with flowers and gulal and thereafter a big bundle of these saris would be given to the women who were serving the family in the haveli.” Even today Alka enjoys wearing yellow and playing, “A calm and civilised Holi.”

RAJTILAK AT THE KOTAHGARH

March 25, 2022, 3:19 am

The recent Rajtilak at Kotah heralded royal revelry, fanfare and pageantry that were truly reminiscent of an era gone by. Following the demise of the late HH Maharao Saheb Brijraj Singhji, his son and heir, Ijyaraj Singh was anointed as the 19th Maharao of Kotah in a private yet spectacular ceremony at the Rajmahal Chowk within the 13th Century Kotah-Garh complex on 10 February. An air of regal grandeur prevailed as almost 250 jagirdars representing over 50 thikanas of the erstwhile kingdom of Kotah gathered into the Garh precincts to reiterate their allegiance. Dressed in all white Jodhpuris and bandhgala suits they donned white or dull coloured paags or headgear before taking their assigned seats as per palace protocol.

Maharao Ijyaraj Singh with his family members including Rajmata Uttara Devi, wife Maharani Kalpana Devi and son MK Jaidev Singh after the culmination of the Rajtilak ceremony.Ladies assemble at the Bhim Mahal to witness the Rajtilak ceremony.Some of the members from the Thikhanas of the former Kotah State.Maharao Ijyaraj Singh, Maharani Kalpana Devi & MK Jaidev Singh along with royal family retainers stand at the entrance to the Kotah-Garh complex.Jagirdars representing the Thikhanas of Kotah line up at the Rajtilak at the Kotah–Garh complex.Maharao Ijyaraj Singh and his son Maharaj Kumar Jaidev Singh seated under the Royal Canopy during the Rajtilak ceremony.

The headgear in Rajasthan has timelessly served as a symbol of regional identity. The Kotah Paag proudly remains symbolic of the Kotah’s age-old traditions and heritage. The late Maharao Brijraj Singhji was himself a staunch proponent of the Kotah Paag and encouraged its prevalence amongst the people of Kotah. Thus, there couldn’t be a more befitting tribute than one in which almost all of the jagirdars had opted to sport this particular headgear.

The ceremony commenced with Ijyaraj Singhji first visiting the temple of his family’s kuldevta—Shri Brijnathji and paying obeisance to the deity. The Royal priest then tied the saffron coloured patka onto his white paag, denoting that the Lord has given colour to the new Maharao. This sacred gesture ritually marks the end of the mourning period. Thereafter, he entered the Rajmahal Chowk accompanied by a small retinue of uniformed retainers bearing the royal standard, insignias, fly whisks and the royal chatri. He took up his position under the grand royal canopy. Flanking it on either side were the resplendent Kotah coat of arms. Kotah’s royal insignia is dominated by the garuda bird at the centre that is accompanied by a flying dragon on each side.

The former kingdom of Kotah was accorded a 17- gunsalute status and was amongst the larger of the 22states that comprised pre-independence Rajputana. The royal family of Kotah hail from the Hada clan, an offshoot of the Chauhan dynasty, and trace their lineage to the Hindu king Prithviraj Chauhan. In 1948, Kotah was integrated into the Union of India by its last ruler HH Maharao Bhim Singhji, who signed the instrument of accession of his state into India. Hence, on the right of the canopy were seated the chieftains from the same Hada clan including members from the thikanas of Bamulia, Palaitha, Rajgarh, Koela, Kotda, Sangod, Amli, Napania, Ratawad, and Chamlasa amongst others. On the left were seated representatives from other Rajput clans, close family members and other special guests and dignitaries.

First on the agenda was the customary rang ka dastur that involves the changing of colours from subdued mourning hues to brighter colours. This too marks the end of the mourning period. The first to present the saffron paag to Ijayraj Singhji was Indradeep Narayan Banerjee from Bankura and the official representative of the Cooch Bihar royal family. This was followed by Maharaj Jai Singh of Suket. A simultaneous practice of the rang ka dastur was conducted at the Bhim Mahal amongst all the attending ladies. Incidentally, it was for the first time that ladies of the royal family and all thikanas witnessed the Rajtilak and the Rajyabhishek ceremonies. They were formerly barred to witness public occasions due to the widely prevalent purdah system. Breaking away from such archaic customs is a possibility and prerogative of the modern era. The rang ka dastur was followed by the rajtilak ceremony. The rajpurohit (head priest) and other senior royal priests preluded by anointing Ijyaraj Singhji with tilak and showered their blessings. This was followed by the rajyabhishek. Once the religious proceedings had culminated it was time for the nazar and satkars to be performed by all the jagirdars. These are primarily social gestures on behalf of the erstwhile jagirdars who acknowledge the anointing of the new ‘Maharao’ as a gesture of reposing their loyalty and allegiance to him.

The historic 13th century Kotah-Garh or the City Palace has been a pivotal venue to the town and the community at large. The late Maharao Brijraj Singhji converted a section of this into a museum in 1970. The Rao Madho Singh Museum houses a fine collection of royal regalia, arms and armour, textiles and object d’art. The age-old traditions and customs in erstwhile Royal households are prevalent to this day. Socially, they continue to be relevant and are regarded in high esteem by their former Jagirdars. The overwhelming support and turnout at the recent Rajtilak of Maharao Ijyaraj Singh is just one of the many instances that go to prove this point.

THE LEGACY OF ART

March 18, 2022, 1:13 am

RAJA RAVI VARMA’S RESIDENCY IN BARODA

The royal Gaekwad family resides in the grandiose Lakshmi Vilas Palace at the heart of Vadodara, Gujarat. Built during the reign of Maharaja Sayajirao Gaekwad III in 1890, the palace welcomed Raja Ravi Verma as its privileged guest. A special studio was built on the palace grounds. During his stay at Baroda, Ravi Varma created some of the most iconic works. This period was the golden age for Ravi Varma and his paintings. Several paintings like Nala and Damayanti, Radha & Madhava, Arjuna and Subhadra, Bharata, Shantanu and Ganga, sleeping beauty, Lakshmi & Saraswati are in the Baroda Museum. Maharani Radhika Raje of Baroda has created many forums to conserve this legacy: lithographs that carry the museum stamps, cushions with the Ravi Varma painting digitally printed on them, and art books being some of her ingenious initiatives.

Radhika Raje

Ragini Gunakali (Ragmala)

Shailaja Katoch

Studio Kishangarh

Nandini Singh Jhabua

THE PATH OF GRACE

Kishangarh paintings are instantly identifiable by the sharp elongated facial features of the men and women, the pointed, lotusshaped eyes, and serpentine locks of hair. The subjects of the paintings are usually set in large panoramic landscapes that portray the beauty of Rajasthan’s landscapes and incredible Rajasthani architecture of ornate marble structures, traditional archways, and open terraces. The paintings also capture the sheer beauty of the auspicious Kamdhenu cow, the majestic face of Shrinathji, (a depiction of Krishna) and the wondrous world of pichwai art: paintings rendered on cloth that hang behind the deity in a temple. Reviving this school of art, Princess Vaishnavi Kumari of Kishangarh founded Studio Kishangarh inside the family’s Kishangarh fort. A SOAS graduate, she brings in elements of pop art to this school creating her own language for ancient art.

KANGRA KALAM

It was during the Mughal era that a family of Kashmiri painters, trained in the Mughal style sought shelter at the court of Raja Dalip Singh (1695–1741) of Guler. It was in his court that a distinct language of art started emerging in the Hill regions of India. Adopted thereafter by Raja Sansar Chand of Kangra-Lambagraon, the art, precise and fluid, lyrical and naturalistic, began to be called Kangra Kalam. Revolving around the picturesque hills of the Himalayas, the works inspired by Jayadev’s Gita Govindam depicted the eternal love of Radha and Krishna. This art form is preserved today by the young couple Raja Aishwarya Katoch and Rani Shailaja Katoch of Kangra-Lambagraon. Having curated the Sansar Chand Museum named after their ancestor, the Katochs continue to patronise miniature artists engrossed in recreating museum art.

PRINCESS VIDITA SINGH OF BARWANI

She is inspired by her father, H.H. Rana Manvendra Singh, a pioneer in the field of automotive restoration, a published automotive historian, and the driving force behind the Cartier Concours d’Elegance. Spending most of her childhood seeing sleek vintage cars cruise in and out of his automotive workshop, Princess Vidita Singh has emerged as an artist who paints cars in their inimitable glory. Her paintings have been exhibited alongside prestigious car rallies such as the Cartier Concours d’Elegance in Hyderabad and the Pebble Beach Concours in California. Her distinct style includes painting reflections of cars, car parts as seen on the chrome, and painting surfaces of automobiles as well as their mirrors. The shift of perspective, offered by her unique eye, makes her work all the more endearing as it makes it difficult for the viewer to walk by a painting without giving it another look.

TRIBAL POINTILLISM

Gond art dates back to more than 1400 years ago and is practised by one of the largest tribes of Madhya Pradesh. Gond paintings use vibrant colours like orange, yellow, blue and red, and are created in the pointillism style with articulately drawn lines and dots as the method to bring it to life. With natural colours obtained from various sources like flowers, stones, these works simply depict the plebeian world of Indian tribals. Princess Nandini Singh Jhabua, an art custodian, has made it her mission to present Gond art to the world. Seeing so many Gond artists who were languishing, she has taken up the responsibility to revive and restore this art form. She is deeply connected to her roots in Madhya Pradesh through her social and aesthetic endeavours, encouraging traditional artists to experiment with contemporary themes.

AN ORAL AND NASAL SPRAY THAT INACTIVATES VIRUSES LIKE SARS-COV-2, INFLUENZA

March 18, 2022, 1:04 am

Two years into the ghastly pandemic and several vaccinations later, the world is heaving a momentary sigh of relief. Hopefully, the worst is over. But it would be naïve to presume SARS-CoV-2 (Covid) has left us for good. ‘The Forever Virus’ is a euphemism that is being used increasingly to describe mankind’s unending cycle with immune-threatening viruses. The ongoing struggle between our immune systems and mutating viruses is not a recent phenomenon. Since time immemorial, endemics and pandemics have come and gone, mutating along the way. Take influenza for example, which has been around for over a century. It mutates each year and causes diseases that differ in severity depending on the mutation and its target population.

How does it work

Darpan Roy ChowdhuryAnupam Dokeniya

To our dread, Covid makes similar promises. An enveloped virus-like influenza, many have contended that one fine day in the near future, it will cease to exist. But keeping in mind the larger consensus of virologists and epidemiologists, it is here to stay. Albeit more manageable as compared to when it first invaded the world, Covid is expected to constantly mutate with the passage of time and increase in severity during certain seasonal changes. Are vaccines the final answer? The existing vaccines and booster shots are suspected to have major long term side effects, and urgently call for the need to come up with newer, more advanced viruses to counter the virus’ mutations.

Call it paranoia or cynicism, such are the facts until now. Amidst this existential dystopia, optimism stems not from denial, but from inventive measures taken up by some of the brightest minds amongst us. As a wise person once said, necessity is the mother of all invention, mankind’s dire necessity to triumph over viruses has led to Erasavir—a revelatory prototype that might just add a trump card in our favour.

Mayurbhanj’s Akshita M Bhanjdeo brings us to a highly enlightening conversation with the duo behind Erasavir, a novel pharmaceutical conception that seeks to change the post-pandemic world. Erasavir is a product of Palani LLC, USA in collaboration with Strassenburg Pharmaceuticals, India. As a strategic commutations executive at Erasavir, Akshita introduced me to a trailblazing formula that is gearing up to take preventive care against enveloped viruses such as Covid to a different level altogether.

After an interview with Erasavir co-founder Anupam Dokeniya and Darpan Roy Chowdhury, lead business developer at Strassenburg Pharmaceuticals, here’s the story of Erasavir.

WHAT IS ERASAVIR?

Erasavir, a nasal and oral spray is the first of its kind to herald the novel Hygiene 2.0 approach that kills viral particles in the only two routes by which the virus enters a human body, namely, the nasal and oral passages.

With effective lipid dissolving agents (LDA’s), Erssavir’s amphipathic fatty acid molecules also have distinct hydrophilic and lipophilic ends to them. Anything that dissolves oily substances is an LDA, such as a soap. Enveloped viruses like Covid bear an outer lipid membrane that is oily. When that lipid membrane is broken or dissolved in aqueous mediums such as water running from a tap or the saliva and mucus in our oral and nasal passages, the virus is no longer viable and thus, can cause no harm. In other words, LDA’s are able to effectively dissolve the lipid membranes due to their amphipathic properties. Once this outer lipid layer of the virus disintegrates, the RNA of the virus rapidly disintegrates as well, since the protective envelope is breached. The end result of this disintegration is a dead and ineffective virus cell.

IS IT SAFE?

As per Dokeniya and Chowdhury Erasavir is safe to use multiple times daily for lifelong use. They report that all the ingredients involved in Erasavir’s production have been proven safe and categorised as GRAS (Generally Recognised As Safe) by the US FDA. They also have Prof. R.B.N. Prasad, a leading authority on lipids as a safety advisor for Erasavir. When it comes to Erasavir’s usage by younger age groups, the duo declares that although no adverse effects have been detected so far, paediatric health calls for a separate set of desirable characteristics. They are in dialogue with paediatricians to better understand these demands and will be understanding R&D to customise Erasavir for optimising children’s health as well. Erasavir has also shown no drug interactions or allergen triggers thus far.

“We don’t see and have not found any long term side efffects of any of the ingredients in Erasavir, especially in the quantities in which they are used. We will be doing pharmacovigilance studies as well as continually improving the product and expanding the product lines. The nasal mucosa is a very sensitive area and varies from person to person. We are looking to use our customer feedback to make sure that everybody has a great experience with the product. After all, we want Erasavir to be a daily lifestyle product like toothpaste and make it as comfortable as that”, the duo adds.

USAGE

Directions for Use:

Shake both bottles well before use. Use the products twice daily as a hygiene habit. If you fear having been exposed to the virus, you may increase it to 3-4 times a day.

Nasal Spray:

• Blow your nose slightly and pump the spray (maybe outside a window) to see that a mist is being released

• Press down on one nostril and spray just outside the tip of the other (don’t put the nozzle into your nose), pointing away from the centre of your nose (towards the outside)

• Breathe normally through the mouth a couple of times (Do not sniff or inhale deeply)

• Repeat the process in the other nostril

• After a few minutes, you may blow out your nose to clear out any residual congestion

Mouth Spray:

• Pump the spray a couple of times to see that a mist is being released

• Spray twice into your mouth and spread it around with your tongue.

• Try to cover as much area inside the mouth as possible

WHAT SETS IT APART

• Mastering a highly complex and effective molecule

• Quality product

• Trusted and authentic brand

• Upcoming version 2 with major improvements and cutting edge technology

• Patent filed

THE ROAD AHEAD

• Introduction into the Indian market beyond the existing 1,000 pharmacies that currently sell Erasavir

• Increasing offline presence beyond pharmacies to big stores and even kirana stores.

• Presently available on Pharmeasy, 1mg and Santa Sundar.

• Launching soon on Amazon.

• Streamlined e-commerce functionality

• Logistics and national roll-out advised by Hari Menon (CEO, Big Basket)

• Ongoing engagement with Docplexus, a platform of 4,00,000 + doctors for the creation of educational materials for the medical and scientific community.

• Active Zoom video sessions with scientists, doctors, journalists, media professionals and other influential decision-makers in the pipeline.

• Fundraising apart from media and government endorsement for marketing, educational initiatives and brand awareness.

• Work with non-profits and governments to reach out to as many people as possible.

“Erasavir will be reaching out to customers in all geographies. Erasavir would play an important role and will become an indispensable additional tool as humanity learns to live alongside the virus and minimise the interruptions caused by the virus and its mutations”, Dokeniya and Chowdhury conclude.

Capturing Wildlife In Their Art

March 11, 2022, 9:47 am

Hunting was a passion shared by royals all over the world. Right through the Raj era and even before that imagery of shikaar filled the life of royals. Many images of majestic tigers, fearsome bears, tall camels and angry boars hunted down during shikaars filled the walls of royal palaces. Homes and living rooms were lined with hunting trophies…. stuffed and conserved wild animals that were shot by the royals, each telling a tale that makes even their present-day descendants’ hearts swell with pride. While some Maharajas made hunting their favourite sport, other caring monarchs got involved in conserving the wildlife, preserving the forests. There were many visionaries who spoke out for conservation. Like Maharaj Kumar Ranjit Sinh Wankaner, an IAS who also served as Chairman of the Wildlife Trust of India and Regional Co-coordinator WWF Tiger Conservation Programme. His most noted works are drafting of Wildlife (Protection) Act, 1972 of India and demarcating many forests as wildlife sanctuaries.

Princess Krishna Kumari of Panna

Photography by Anjanaya Pratap Singh

Porcelain art by Krishna

Close-up art by Krishna

Love for the animals in fact fills the life of many royals who spend all their lives living in homes that are surrounded by flora and fauna. Some turn to art to express their love for wildlife, literally capturing the wild world in their frames. Like Princess Krishna Kumari of Panna who belongs to the family of Bundelkhand who ruled over the forest region of Madhya Pradesh. Growing up with tigers and cheetahs, she is an avid wildlife enthusiast.

When not sighting wildlife for real she is busy capturing them on porcelain tiles, trays, plates and bowls. Often monochrome with a dash of yellow or ocher highlighting the tiger’s stripes or the zebra’s eyes. Krishna stumbled upon this art form by a stroke of luck when she met a seasoned artist in Mumbai and took part in her art camp. Though tough, the art form captured her imagination and she travelled to cities where porcelain art was truly practised: Spain, Portugal, and France. She trained to understand its nuances and carefully mastered it. Painting her beloved animals on Porcelain, a medium of expression that is known to be tough to manoeuvre but exquisite to behold, the artist paints extreme close-ups of tigers, zebras, deer and elephants that she encounters in the jungles of Panna on a regular basis.

Photographing wildlife is yet another passion of royals. Anjanaya Pratap Singh from Odisha being one such enthusiast. A professional working in the FMCG world, he spends all his free time capturing wildlife on his camera. A sight of a tiger on the prowl, a view of a cheetah perched in the jungle or a bird in flight, capturing the ripples of a fast-flowing river, and thus, capturing his imagination.

IMMERSIVE ART & GAMING WITH ANIRUDH SINGH SHEKHAWAT

December 5, 2023, 1:59 am

Born to a lineage of decorated army and airforce officers that are prided unto this day, Anirudh Singh Shekhawat was born to create his own magical story in the world of virtual gaming and graphics.

His inherent passion for stories and a fondness towards drawing would make it difficult for Anirudh to resist doodling on anything that he laid his hands on as a schoolboy.

A glimpse of Anirudh Singh Shekhawat’s video game project Raji

True to his artistic soul, no amount of ordeals or punishments that consequently followed could deter him from splashing out unending caricatures, often on his study material.

His parents, one a journalist and the other an educationist, often worried about their son’s intensifying affair with art.

His contemporaries were enrolling into more conventional streams of professions in reputed colleges, but Anirudh’s artistic intent was not just a fleeting hobby. Neither was it a personal act of scholarly rebellion. It was a life choice that he had willed upon himself to pursue and before long, Anirudh’s unrelenting efforts would win him his parent’s confidence as well.

As a 90’s child, Anirudh’s life changed dramatically with the influx of cable television in India. Growing up, he came across a show called ‘Splat’ on the Discovery channel, which showcased the making of popular animated movies and video games.

Anirudh candidly states, “it blew my mind—the thought that drawing all day could actually amount to a full-time job. At that moment, I just knew that this was all that I wanted to do. I wanted to become an animator. My parents, teachers and everyone around me had a hard time figuring out what I really had in mind. To be honest, many continue to struggle with this understanding, but when my parents saw me get down to training myself and churning out some pieces of work, they became my biggest cheerleaders.”

Back when Anirudh started specialising in the field, the country lacked good visual design institutes. This made him turn to online education and YouTube, which he admits became his best friend. Self-learning was a relatively slow and challenging process no doubt, but Anirudh decided to capitalise on it as much as he could.

Now, over a decade later, Anirudh is a part of Nodding Heads Games, a Pune-based studio, he has developed a video game called Raji, through which he and his team plan on putting the Indian gaming industry on the world map.

It is Anirudh’s firm belief that India remains relatively unexplored in terms of indigenous pop culture and video games and dreams to recreate the magic of the 80s in the West, wherein virtual gaming and digital graphics had undergone a gigantic surge. In his own words, “my aim is to create a lot of content that takes inspiration from different cultures of the Indian society and present it in a way that is appealing to a global audience.”

Despite his deep fascination with the world of animation and concept art, Anirudh earlier considered art to be a highly selfish and self-centred profession. In his opinion, he didn’t find an artistic contribution to equate that of medical or technological professionals in the advancement of their societies.

Art, to Anirudh, seemed to be limited merely to aesthetic and hence, to the superficial realms of existence until a coming of age realisation which he shares: “I eventually realised that in a world where everyone is so caught up in life and work, art and entertainment provide a crucial getaway from the monotonies of life and keep people sane. Having said that, I keep it in mind to make my artistic content as immersive as possible, wherein it invites people to want to be in its place.” Anirudh admits to the relatively limited templates of fantasy and sci-fi storytelling.

However, he believes that when moulded through different cultural perspectives, storytelling emerges in refreshingly innovative directions.

The budding concept artist continues to elaborate on his cultural emphasis in that, “I also try to find ways to take things which the current generation finds uncool and present it in a cool manner. Sadly, our ancient history and art, which are so rich in nature, have been made to be perceived by younger generations as bland and unappealing. I hope to represent and repackage them for the newer generations to duly savour and proudly cherish.”

Anirudh has represented the rich cultural heritage of Rajasthan in the video game project Raji, which forms the geographical backdrop to this video game.

Sure, there are struggles and a constant inflow of demotivation in the artistic world, but Anirudh caricatures on with one of his favourite mantras by comedian Kanan Gill, which reads, “life is actually like video games. When you are on level 1, you wish you had bigger and more powerful weapons so that you could kill the monsters faster. Eventually, you do get more powerful weapons but the monsters become way more powerful too. So you have to fight it out and become stronger with each step.”

Jamnia: Like father, like daughters

March 4, 2022, 8:04 am

Situated merely 11 kilometers Eastwards of the archaeological destination of Mandu, their ancestral land of Jamnia constitutes the rich forest belt that is home to India’s many indigenous tribes, such as the Bhils and Gonds. Both, Veerangana and Shubhangana Jamnia grew up admiring their father, the younger Rajkumarsahib of Jamnia as he championed several social welfare causes that directly impacted the people of and around his Jamnia. In tandem with that, their proximity to tribal areas and wildlife deeply inculcated values of sustainability and environmental awareness in them.

Shubhangana Jamnia (L) and Veerangana Jamnia (R) with their father in the backdrop

Environmentally-friendly sanitary napkins

Shubhangana and Veerangana Jamnia during a distribution drive

A postgraduate student at the London School of Economics, her country’s astonishing lapses in public policy led Shubhangana to take up the subject as her specialisation. Her sister Veerangana is an Economics major from Mumbai’s St. Xavier’s College and endeavours to work in the world of sustainable fashion. Together, they have launched a series of social welfare initiatives for social welfare and wildlife conservation, the most recent one being Dor. Inaugurated earlier this year in October, Dor is a sustainable fashion initiative that generates proceeds for social welfare causes in Madhya Pradesh.

“The name ‘Dor’ literally means thread, and we aim to use it to connect the people of today to jointly unfurl a better tomorrow. With about 68% of Indian population living in rural areas, I wish to build my career in policy making for rural empowerment. Even though the number of developing villages is on the rise, we are paying a heavy price for this development through a depletion of our ecosystem. Urbanising villages isn’t the real empowerment of villages. Instead, real empowerment results out of natives being able to preserve their surrounding environment”, says Shubhangana.

Dor made a promising start by collaborating with Sanitree, a Scottish company that devices sustainable and ethical means of tackling period poverty and stigma around the world. It uses crowdfunding to finance a Jaipur-based co-operative of hundreds of local women who produce reusable cloth pads that are then freely distributed amongst India’s rural belts. Incidentally, Scotland has appeared in fairly recent news bulletins for being the world’s first country to make menstrual pads free of cost. One hopes for other countries to soon follow suit in a similar prioritisation of social welfarist policies.

Since its inception, Shubhangana and Veerangana’s initiative is on its way to channelising these reusable and environmentally friendly pads to 89 villages in Madhya Pradesh. Made entirely from organic materials, Sanitree’s pads do not contain the slightest trace of plastic and are fully biodegradable. Thus, true to their familial values, Shubhangana and Veerangana are effectively pioneering a cause that ensures rural empowerment and environmental conservation go hand in hand. “With only 2-3% of rural women using sanitary pads in India, profits from Dor are channelised to make sanitary pads available to them. What’s more, each kit can be reused for upto two years!” Shubhangana adds.

In recent times, India has seen a meteoric rise in its native manufacturing of sustainable menstrual hygiene products. Brands like PeeSafe, Carmesi, Heyday and Saathi are amongst the growing number of environmentally friendly sanitary napkins that cater to the hypoallergenic and environmentally conscious segment of menstruating girls and women in multiple urban centers. However, most of these are limited by the price component that limits their affordability to the nation’s elite and upper-middle classes. The stark disparities between urban and rural India’s access to menstrual hygiene is a contingency that has been glaring us in the face for decades. Poor menstrual hygiene due to poverty and taboo has caused many women serious illnesses and recurrent infections. Some of these even bear the potential of being life-threatening. The negation of women’s menstrual rights hygiene in our tax reforms also made for a dismal sight, but the government’s exemption of tax on sanitary napkins has been embraced as a welcomed, albeit a grossly delayed change.

The development sector has made some commendable effort in distributing disposable sanitary napkins to the poor while also gaining employment, but the story wasn’t as rosy as shown in Akshay Kumar’s blockbuster film ‘Padman’. Budget factors and the subsequent inferiority of manufacturing material are two of the multiple constraints in these models. However, initiatives such as Sanitree prove the possibility of garnering welfare collectives to champion the cause. And the fortification provided by young, local elites such as Shubhangana and Veerangana Jamnia is vital in ensuring that these initiatives percolate into the rural grassroots of India. To date, almost 25% of India’s girls abstain from attending classes during their menstrual period. This is merely one of the many statistics implying the challenges that await us, and delaying action only adds to the issue. Many CSR initiatives too have recently expressed vocal support for the cause of safe menstrual hygiene. For example, Rajasthan Royals carrying a sanitary brand sponsor’s name on the top of their jerseys during this year’s IPL was a revolutionary step in its own right. True to their example, the Jamnia girls prove that small scale enterprises following similar suit and undertaking social responsibilities is as easily possible as it is fulfilling.

“While menstrual hygiene is just the first cause taken up by Dor, our next aim is to reduce the impact of Covid-19 on child education in rural areas. Additionally, we run a parallel initiative for wildlife conservation-Tails of the Forgotten by creating social media awareness around animal rights and their protection”, the two sisters conclude.

BLUE-BLOODED POLITICIANS ARE ADDING SPICE TO THE RACE FOR VICTORY IN THE POLLS

March 4, 2022, 8:01 am

Power has always been the biggest weapon of Princely India. Erstwhile Maharajas waged wars, fought for land and constantly kept pushing their boundaries further. Many of their descendants, who are citizens of democratic India continue this quest for power, sitting in governments, both central and state and gathering support through vote bank that majorly comprises people who live within the borders of their present-day states.

Nawab Kazim Ali Khan of Rampur

Rani Pakshalika Singh and Raja Mahendra Aridaman Singh

Arvind Khanna

Sanjay Singh

Indian politics has a generous sprinkling of royal blood in its cadre. What with one of our Prime Ministers, V. P. Singh, or Vishwanath Pratap Singh being the Raja Bahadur of Manda in UP; Kalikesh Singh who hails from Patna Bolangir being a sitting MP; Digvijay Singh the Raja of Raghogarh being a major face of national politics in Congress, Vasundhara Raje from Dholpur being the Chief Minister for more than two tenures; Chandresh Kumari, the Princess of Jodhpur and the Rajmata of Kangra sitting in the Centre as the Culture Minister…. the list is endless.

In the current state elections of UP, Punjab and Uttarakhand as well one is seeing a battalion of erstwhile rajas, nawabs and zamindars fighting at the polls. Nawab Kazim Ali of Rampur and his son topping this list. While the father Kazim Ali Khan, Congress pits his might against the notorious Azam Khan in Rampur, his soft-spoken son; the Nawabzada Haider Ali Khan (Apna Dal, a BJP ally) fights Abdullah Azam Khan in Suar.

The Raja of Amethi Sanjay Singh, two times MP jumps into the fray fighting from Amethi, which also happens to be his erstwhile kingdom. In the past, his first wife Garima Singh held fort there. A Congress supporter he also crosses over to BJP for this year’s elections. Also in Amethi fighting the elections is another royal Mayankeshwar Sharan Singh who is contesting from Tiloi seat on BJP ticket.

In Agra, Bhadawar dynasty’s Rani Pakshalika Singh, who lost the 2012 polls from Khariagarh on SP ticket, is again contesting from the same seat on the BJP ticket. Rani Pakshalika Singh is a BJP candidate from the Bah constituency in the 2022 UP Assembly elections. An entrepreneur and social worker, she is often referred to as the richest rani, her declared assets being Rs 58.5 crore, which includes Rs 4 crore in moveable assets and Rs 54.4 crore as immovable assets.

Pratapgarh’s Kunda constituency always remains in news due to Raghuraraj Pratap Singh alias Raja Bhaiya of the Bhadri dynasty. He is again in the fray from the same seat as an Independent candidate and is looking forward to a double hat-trick win. Raja Bhaiya has been a Minister in the governments of Kalyan Singh, Ram Prakash Gupta, Rajnath Singh and Mulayam Singh in the past.

A known face in Uttrakhand politics Mala Rajya Laxmi, the BJP MP from Uttarakhand’s Tehri Garhwal constituency was seen actively campaigning for the MLAs of her region. . She is the daughter in law of erstwhile Tehri royal family scion Manabendra Shah who represented the seat in Lok Sabha for a record eight times. She also holds the distinction of being the first lady MP to make it to Parliament after Uttarakhand was declared a separate state. She was elected to the 15th Lok Sabha in a by-election and is a Member of the BJP State Parliamentary Board in the state.

Like her Preneet Kaur, wife of Captain Amarinder Singh and the Maharani of Patiala, was seen campaigning for her husband who is fighting the elections as a BJP ally. A sitting Congress MP, her campaign met with critique. Meanwhile, her nephew Arvind Khanna, whose mother Naginder Khanna was the daughter of Maharaja Bhupinder Singh, fights from the BJP ticket from Sangrur. Indeed these blue-blooded politicians are adding spice to the race up to victory at the polls.

Umang Hutheesing Showcases Regal Collection In Sri Lanka

December 5, 2023, 1:59 am

H e is possibly India’s most acclaimed costume creator, the only couturier to have shown in celebrated museums of the world. A scion of the Hutneesing family who traces their lineage to the Mughal era and a true blue restorer and textile protagonist who is doing India proud.

Akshiena Khanna in a cape by Umang HutheesingRoyal Patron Umang Hutheesing Traditional Costumes CollectionDesigner Umang HutheesingRishabh Tongya, Diacolor, Princess Mriganka Singh and Umang Hutheesing walking the ramp.Designs by Umang HutheesingModels in Umang Hutheesing’s collection

Umang Hutheesing recently took his bridal story to Sri Lanka as a VIP headliner to the Sri Lanka Wedding Week 2022. Hosted by Brides of Sri Lanka magazine together with the Galle Face Hotel the platform also showcased Umang’s classic bridal wear. The Sri Lanka Tourism Promotion Bureau, Sri Lanka Convention Bureau and Sri Lankan Airlines partnered in the event to promote Sri Lanka as a destination for weddings in India and other prospective target markets. For the ramp, besides presenting his signature regal collections also had Umang create a spectacular cameo of Bolero jacket for the groom, with the Garuda regally embroidered on them and the puffed sleeves adding to the heirloom appeal. Recreating the era of the Raj, Umang presented a collection that personified sophisticated elegance and unmatched grandeur. He presented rich brocades, silks and velvets as they danced with delicate chemoys bringing to life the magnificence of the bygone era. Grand sarees, kalidar ghaghras and anarkalis, richly gathered gheras, odhanas and dupattas hand-woven and richly embellished filled the bridal collection for women.

Heir to the Hutheesing family that owes its lineage to Osia near Jaisalmer. The Nagar Seth of Ahmadabad the Hutheesings led an indulgent life. Over the years the family curated a vast collection of royal costumes. Which still holds as a legacy for the future. He says, “Our style of preserving old costumes is unique to our legacy. The artisans have been trained in royal poshak-khaanas, and from our temples. We have skilled artisans working with us, from the states: Bengal, Rajasthan, Gujarat, Madhya Pradesh and Kashmir. Working with each masterpiece, whether it’s an embellished angarkhaa or a wieldy lehenga, the embroideries are handled with delicate mastery, using motifs from the medieval times.” He helms the Hutheesing Design Company, established in 1835. Hutheesing Design Company tied up with Tiffany & Co in 1881 and won nine gold medals at the Paris World Expo 1900 as one of the finest design firms in the world. It executed the East Wing of the White House and Durbar Hall of Osborne House at Queen Victoria’s Palace.

Umang is a Managing Trustee of Hutheesing Visual Arts Center and the President of Hutheesing Heritage Foundation. He is the 5th generation to head the firm and has been a Creative Consultant at American Vogue, Teen Vogue and many international media. He has collaborated with Holland & Holland, the official outfitters to Queen Elizabeth and Prince Charles, and has showcased at Buckingham Palace for the Queen’s Diamond Jubilee celebrations. He has also done panels for the Roosevelt House of the US. He is the only Indian designer to have shown over 300 of his creations at renowned international museums and has the honour to create regal costumes for several Royal Families in India and across the world. Umang is expected to showcase ten brides and ten grooms on the 20th of February at Wedding Week 2022.

Umang’s Durbar Collection is inspired by the grand durbar which was held in Delhi to celebrate and welcome King George V and Queen Mary as all the Indian Royalties had gathered for the Coronation and Delhi was renamed the Capital of India. It was the same year when Delhi was re-established as India’s capital. Hutheesing Design Company hosted an exhibition of antique textile art in Paris, the year 2010, with exemplary patrons, the ex-French president Nicolas Sarkozy and his wife Carla Brunei. The firm was authorized in 1882 to rework the East Wing of The White House, the home to many American Presidents.

A looming, majestic building, the White House has elements of Indian design. HDC has once more laid their regal imprint on the White House, by designing the textured silk panels at Roosevelt House. “The eternal Tree of Life, with 50 stars of the American flag, displays within itself the Metaphysical meaning of Life. The design in itself helps unify the Indo-American everlasting bond!”, says Umang.

How Poornamrita Singh became Bollywood’s celebrated costume designer

December 5, 2023, 1:59 am

Katrina Kaif and Sidharth Malhotra’s multiple makeovers in ‘Baar Baar Dekho’, Ranveer Singh’s street style of a rapper in ‘Gully Boy’, the high heeled and chic characters from the Amazon Prime web series ‘Made In Heaven’ and Bhumi Pednekar‘s rustic look in Netflix’s ‘Lust Stories’. All of these have a single, common thread in that they’re creations of Poornamrita Singh’s magical wand.

Poornamrita Singh donning an outfit from her label SubCultureA still from ‘Made In Heaven’A still from ‘Baar Baar Dekho’

Sanjay Singh Badnor uncovers the dazzling journey of Bollywood’s celebrated stylist and costume designer from Madhya Pradesh’s former princely state of Narsingharh in this exclusive feature for Rajputana Collective.

Like several veterans in the film industry, Poornamrita Singh began without any formal training or mentorship in the field. Infact, this modern day descendant of Raja Bhoja’s dynasty of Parmars spent her formative years in Agra with her maternal grandparents. Her childhood was spent amidst the elaborate familial mansion, the refined aesthetics of which seem to have seeped into her being. Thus, it came as no surprise when the Hindu College graduate moved to pursue a marketing diploma in Mumbai that she organically found her forte in Tinseltown.

It all began at Genesis, Prahlad Kakkar’s production house wherein Poornamrita was a production assistant soon after attaining her diploma from St. Xavier’s College. As apart of her sundry work, Poornamrita was designated styling roles for several TV commercials when she discovered her inborn flair for costume design. But her foray with Bollywood began as an Assistant Costume designer with Reema Kagti’s hit comedy drama ‘Honeymoon Travels Pvt. Ltd.’ in 2007.

Her expertise was thereafter solicited in Sudhir Mishra’s ‘Khoya Khoya Chand’ and Zoya Akhtar’s ‘Dil Dhadakne Do’ apart from several other film labels. There was no looking back for Poornamrita ever since, and she rose to join Bollywood’s leading cohort of costume designers.

“In a film, an actor is supposed to leave his own personality behind and don the avatar of the character he or she is playing. As a costume designer, my role is to ensure that I have created the appropriate identity for that particular character”, Poornamrita begins.

It is not about styling a celebrity as much as it is about investing in a character’s style and creating an identity that comes alive on celluloid that gives Poornamrita the ultimate adrenalin rush. “Costumes are of utmost importance since they mirror the mood, as well as the background so as to allow the characters to emerge as real and identifiable. I enjoy creating specific characters instead of just simply making people look good”, she adds.

Speaking of which, she pays particular reference to ‘Baar Baar Dekho’, which spanned across five different eras. This meant that Poornamrita and its costume design team were required to create different looks for every decade. A commonplace feature of various film series and sagas, this is still a rarity for a single feature film.

She describes her experience, “We had to move backwards from the 60’s to the 40s and to the Edwardian era through four different locations and had to come up with separate looks for each character as per the setting; so we had the bohemian look for Thailand, the autumn feel for Scotland and the typical ethnic wedding vibe for the India locations. We worked on over a 1000 different looks! What was rather encouraging was the fact that both the lead stars, Katrina and Siddharth were very cooperative and willing to be experimental about their styling. It is all about collaborative effort and feels particularly welcoming when actors share their creative inputs. This actually helps me build into their character.”

Poornamrita’s work rose to the hall of fame when in 2020, she won the Screen Award for Best Costume Design in Zoya Akhtar’s ‘Gully Boy’, and was nominated for the same in that year’s Asian Film and Filmfare awards. However, it was her work in the 2019 web series, ‘Made in Heaven’ that remains embellished in Poornamrita’s career for its signature style and exceptional design components. Her keen eye for detail rendered the show’s wardrobe act as an enabler in its own right, constructing individual identities that could be uniquely distinguished by the show’s viewers.

“I didn’t want my costumes to be overpowering. At the same time, Zoya had initially briefed to keep things stylish yet not to lose the essence of the storyline’’, Poornamrita says in retrospect.

Besides poring over scores of photographs of different families to see how they dress for weddings, to making mood boards for all the characters in the show and creating different color palettes for each wedding, she made sure she was ready on paper before she began to source and collaborate with various designers, labels and boutiques across Mumbai and Delhi.

Poornamrita has also had her share of exciting Hollywood projects and has worked as an assistant costume designer in films such as Mira Nair’s ‘The Reluctant Fundamentalist’ and Ang Lee’s ‘The Life of Pi’.

Her most cherished overseas venture remains the one pursued under Italian costume designer Milena Canonero’s mentorship for Wes Anderson’s film, ‘Darjeeling Limited’. “It was like a dream come true”, Poornamrita explains.

“The four-time Oscar winner for best costume designs, Cananero has unfurled her magic onto the sets of films like ‘Chariots of Fire’, ‘Marie Antoinette’, and ‘The Grand Budapest Hotel’. All in all, she is certainly the goddess of costume design and truly an ace at detailing”, Poornamrita adds.

As a part of her fashion odyssey, Poornamrita has now ventured out with her very own fashion label, SubCulture, where she serves as the founder, director and creative designer. An environmentally-conscious yet stylish brand, SubCulture target’s the new age woman in a strategic positioning between luxury and high street fashion. She strives to attain high-quality fashion through a mindful approach and is committed to redefining its footprint. “The SubCulture designs are feminine yet bold and confident with a unique vibrancy. I love that people connect with the simplicity and the boldness of my creations. It gives me immense joy”, proclaims Poornamrita who was listed by GQ magazine in 2019 as amongst the 50 most influential young Indians.

Poornamrita is currently working on a film entitled ‘Phone Bhoot’ with Katrina, Siddhant Chaturvedi and Ishaan Khattar.

We Need To Come Together To Support Sports: Shreyasi Singh

February 18, 2022, 8:13 am

Shreyasi Singh is not your typical millennial. Before her life clocked three decades, she has won her nation several shooting laurels, held the national champion title in trap shooting for two consecutive years; and recently became a first time MLA from Bihar’s Jamui constituency. In an exclusive interview with Rajputana Collective, Shreyasi opens up about her entrance into the world of politics, and the sacrifices it takes for an ace markswoman to serve as a people’s representative. Given her spontaneity and candour, it’s of little wonder that the spirited young woman makes for a prominent exemplar for today’s aspiring youth.

Q. After making the nation proud as an ace sportsperson, your career took an acute turn into the field of politics. What made you opt for politics amidst a thriving career in trap shooting?

A. So I was always inclined towards Politics primarily because of my father. He was a leader who was loved and respected by all. When I was growing up all I could dream about was becoming like him one day and having that charismatic charm as a leader. When the pandemic hit India first at the beginning of 2020 like a lot of people I too became active on social media. I started interacting with a lot of youth from Bihar through live sessions, regular posting etc. It was then that I realised how much of a change was required in Bihar and how the people who loved my father wanted me to step into his shoes and make political differences as he did. It was for the youth of Bihar that I stepped into politics.

Q. You hail from a family of renowned shots, administrators and statesmen. How does it feel to be taking their legacy forward in the 21st century? What do you envision doing differently?

A. There is definitely a lot of expectations attached to the legacy. I don’t think I’ll ever be able to match up to the stature of my father, but I do want to take his ideology, his work and his dreams forward.

I don’t want to do things differently as much as I want to do things that make a difference. Help empower the youth and change the poor narrative that’s set for Bihar.

Q. Will trap shooting still be in the cards for you, or have political commitments eclipsed your sporting dreams?

A. Definitely Trap Shooting is on the cards. I’m trying my best to manage time and do both things. There have been times when one is prioritised over the other. For example, I had to withdraw my participation from the ISSF World Cup so that I could attend the Budget Session of the Bihar Vidhan Sabha in March 2021 but I chose to participate at the National Championship (to represent Bihar) and miss 4 days of the Winter Session of the Vidhan Sabha in December 2021.

Q. You have been amongst the first modern-day shooters to opt to represent your home state of Bihar, despite its record low sponsorships and financial bandwidth. You mentioned doing so in order to set an example for younger sporting aspirants in your state. How do you plan on taking this forward as a people’s representative?

A. In Bihar was had to start at the ground level. The government has proudly passed the Sports University Bill in the Monsoon Session of the Vidhan Sabha in 2021, and soon Bihar will be the 6th (or 7th) state in India to have a Sports University. That’s a big win for Sports in Bihar.

With the Sports Development Authority, we are working day and night to build a new Sports Policy to help build champions. As a community, we need to come together to support sports whether is monetarily or morally.

Q. What are some of Jamui’s most plaguing concerns, and how do you intend on addressing them?

A. The demands and needs of the people of Jamui are pretty basic as they’ve been deprived of that previously. There are a lot of projects coming up in Jamui just to name a few there’s a Medical College and Hospital, Sports Complex under the Khelo India, SAI training facility, Stormwater drainage system, lots of infrastructural development under the RCPLWE schemes and so on

Q. Possibly amongst the youngest elected state representatives, please describe your experience?

A. Yes, I am the youngest elected Legislative Member in the current Government. While sometimes some people have tried to break my morals by saying “bacchi hai, abhi kya karegi” I’ve also had the privilege of some leaders who guide and support me like my elder brother, sisters or other members of the family.

The good thing about being young is that there is a whole ocean to learn from and form my own opinions. I’m always willing and excited to learn from my seniors.

I’m persistent in the work I want to get done for my constituency Jamui and Bihar and have conviction in my goals, I don’t let people take me lightly just by the virtue of my age.

Q. What lies ahead?

A. It’s a long road forward filled with challenges, I’m excited to take on each one of them and this question only reminds me of the famous poem by Robert Frost :

The woods are lovely, dark and deep

But I have promises to keep

And miles to go before I sleep

Miles to go before I sleep.

Story Of 21-Gun Salute Unveiled

February 18, 2022, 8:11 am

Gun salutes are one of the many ways to add adulation to a state’s honour. It was a practice formed by the British for their queen and later brought into India to define the hierarchy of importance for the Indian Princely states. The story of the 21 gun salute goes back over 150 years. The gun salute system of recognition was first instituted during the time of the East India Company in the late 18th century and continued under direct Crown rule from 1858. During the durbar of 1877, a new order was issued by the Viceroy, on the advice of the British government in London, whereby the gun salute for the British monarch was fixed at 101 and for the Viceroy of India, 31. All Indian rulers were arranged in hierarchies of 21, 19, 17, 15, 11, and 9 gun salutes.

Prince Azmet Jah, Princess Shehkar Jah with Prince Mukarram JahAryama ScindiaAjatshatru KashmirMaharaja Yaduvir Wadiyar and Maharani Trishika Kumari

The Maharaja and Maharani of KashmirJiwaji Rao Scindia

Jiwaji Rao Scindia

Maharani Radhikaraje

Princess Esra

Prince Mukarram Jah, the last Nizam

Maharaja Ranjit Sinh

The 1911 Durbar proved to be not only a spectacle for the eyes but also a din for the ears. With more than one hundred Indian rulers attending, the canons were firing almost the entire day. Only three princely states were given the highest honour of 21 gun salutes: The Maharaja Gaekwad of Baroda State, the Maharaja of Mysore and the Nizam of Hyderabad. The name of the Maharaja Scindia of Gwalior was added in 1917, and the Maharaja of Jammu and Kashmir in 1921. These gun salutes came to be such a dominant and defining indicator of status that the princely states whose rulers were accorded gun salutes came to be referred to as the ‘salute states’. At the time of Independence, there were about 118 salute states among the 565 in our country. The system of salute states continued until 1971 when privy purses were abolished. Let’s find out about the five states that deserved a 21-gun salute during the Raj era.

Hyderabad: By the time of its annexation, Hyderabad was the largest and most prosperous among all the princely states. It covered 82,698 square miles (214,190 km) of fairly homogeneous territory and had a population of roughly 16.34 million people (as per the 1941 census). Hyderabad state had its own army, airline, telecommunication system, postal system, railway network currency and radio broadcasting service. The famous mines of Golconda were the major source of wealth for the Nizams, with the Kingdom of Hyderabad being the only supplier of diamonds for the global market in the 18th century. Global citizens in the true sense the Nizam, residing in Australia has family spread all over the world. Princess Esra his first wife is singularly responsible for the restoration of the two majestic palaces Chomahalla and Falaknuma

The Princely state of Jammu, Kashmir & Ladakh: A hill kingdom it was larger in size than Great Britain and far more pristine and rich in its natural resources. One of the five 21 gun salute states, it was ruled by the Dogra kings, its last titular King, Maharaja Hari Singh. His son, the erudite Maharaja Dr Karan Singh ably took over the mantle of the spiritual, philosopher king who held positions of power and responsibility in democratic India. Before the creation of the princely state, Kashmir had been ruled by the Durrani Empire it was then taken over by the Sikhs under Ranjit Singh. During Sikh rule, Jammu had been a tributary of the Sikh Empire in the Punjab region, but after the death of its Raja, Kishore Singh, Dogra, in 1822 his son Gulab Singh was recognised by the Sikhs as being his heir. He then began expanding his kingdom.

As ruler Jammu Gulab Singh took over Bhadarwah then Kishtwar. Taking over Kishtwar meant that Singh had now gained control of two of the roads that led into Ladakh which allowed him to take control of that territory. Although there were huge difficulties, due to the mountains and glaciers, the Dogras under Gulab Singh’s officer, Zorawar Singh managed to conquer the whole of Ladakh.

Baroda: A Maratha state it was marked by progressive actions under Sayajirao III who played a key role in the development of Baroda’s textile industry, and his educational and social reforms included among others, a ban on child marriage, legislation of divorce, removal of untouchability, spread of education, development of Sanskrit, ideological studies and religious education as well as the encouragement of the fine arts.

His economic development initiatives included the establishment of a railroad and the founding in 1908 of the Bank of Baroda. His rich library became the nucleus of today’s Central Library of Baroda with a network of libraries in all the towns and villages in his state. He was the first Indian ruler to introduce, in 1906, compulsory and free primary education in his state, placing his territory far in advance of contemporary British India

In 1911, Baroda State spanned 3,239 km2 (1,251 sq mi) and was very wealthy. The diamond necklace, which contained the Star of the South diamond, was a part of a royal collection worth US$10,000,000 at the time, housed in the Nazarbaug Palace(built 1721) in Baroda city; another important part of the collection was a cloth embroidered with precious stones and seed pearls, made to cover the tomb of Mohammad.

Mysore: Founded before 1350, though it was in existence since about 350AD when the Western Ganga Dynasty ruled this area. They were eventually

displaced in 1024 by the Hoysala Dynasty till 1346. Sometime thereafter, the two brothers Vijaya and Krishna settled themselves in two fortresses of the Hadana region, initially vassals of the Hindu Vijayanagar Empire and became the founders of the Wadiyar dynasty. In the 16th century, Hiriya Bettada Chamaraja III gave the fortress of Puragarh to one of his three sons, Appana Timmaraja II who named the place Mahishasura. The name was transformed to Maisur or Mysore and this kingdom became independent in 1565 when the Vijayanagar Empire. The Wadiyar Maharajas ruled Mysore right until 1950 and were accorded the status of 21 gun salute. The Kingdom of Mysore (/maɪˈsɔːr/) was one of the three largest princely states within the former British Empire of India. Upon India’s independence from Britain in 1947, Maharaja of Mysore Jayachamarajendra Wodeyar signed the instrument of accession, incorporating his realm with the Union of India, on 15 August 1947. The territories of the erstwhile princely state of Mysore were then reconstituted into a state within the Union of India.

Gwalior: Situated in Madhya Pradesh was the largest state in the Central India Agency, under the political supervision of a Resident at Gwalior. It was ruled by the House of Scindia, a Hindu Maratha dynasty and was entitled to a 21 gun salute when it became a princely state of the British Empire After Indian Independence in 1947, the Scindia rulers acceded to the new Union of India, and Gwalior state was absorbed into the new Indian state of Madhya Bharat.

The dynasty was founded by Ranoji Sindhia, who in 1726 was put in charge of the Malwa region by the Peshwa (chief minister of the Maratha state). By his death in 1750, Ranoji had established his capital at Ujjain. Only later was the Sindhia capital moved to the rock fortress of Gwalior. Probably the greatest of Ranoji’s successors was Sindhia Mahadaji (reigned 1761–94), who created a north Indian empire virtually independent of the Peshwa. He emerged from the war with the British East India Company (1775–82) as the recognised ruler of northwestern India.

In the politics and progress of Indian democracy as well the Scindia’s have been at the forefront, participating both at the levels of the central and regional governments. A journey that began with Rajmata Vijaya Raje Scindia has seen statesmen taking the family’s laurels forward. A progressive state known for its patronage of the arts, architecture and culture, the Scindias are also behind social reforms and the upliftment of women.

Preserving Intangible Heritage With Safir Anand

December 5, 2023, 1:59 am

In an interesting panel discussion with renowned IPR lawyer Safir Anand, Royal Fables brought together a handful of younger generation Rajputs to talk about the lesser known nuances of intangible heritage, and the imperative call to protect it. Having had convened the session as its moderator, I had the privilege of gaining crucial insights into Mr. Safir Anand’s valuable contentions. Within moments following the panel’s conclusion, the writer in me knew that I would give the cause a written form as a token of my personal conviction in its potential.

Vaishnavi Kumari.Safir Anand.

To begin with, it is important to understand what constitutes intangible heritage. As compared to our mainstream understanding of heritage in tangible forms such as monuments, palaces, forts, arts, crafts and artefacts, intangible heritage comprises of the experiential aftermath of experiencing heritage in its myriad forms. Mr. Anand provides an example of experiencing a particular cuisine in a renowned sub-regional household. The recipes involved, and the delicate ways of preparation, presenting and serving constitute a larger legacy that has possibly survived generations of continuity and change. This very exclusivity, that makes the experience unique, and the experience itself is what Mr. Anand explains to comprise of intangible heritage.

Given the modernising times we live in, where replications are inexpensive and largely inconsequential, the importance of identifying our intangible heritage becomes all the more imperative. The reason being that its authentic value needs to be defined first in order to be duly protected and honed in ways that safeguard its jeopardy by external parties in blatantly commercial sabotages.

Take for example Kishangarh’s Baijilal Vaishnavi Kumari and her unique symbolisation fo the Pichwai cow, a design prototype that she had created over a decade ago. Despite her direct commissioning and purchasing of the art block, she soon found to her dismay that that very design had been replicated at such a massive scale that legally seeking recourse was an unfathomable exercise. As Kishangarh’s modern-day scions and an active patron of its art school, Vaishnavi holds claim to this design prototype as her intellectual property, but knew little on how to negotiate her custodianship over it. Until Mr. Anand told her how.

In her primary identification of what constitutes her intangible heritage, which could be her pichwai cow in its conception through Kishangarh’s unique art form, its design, manufacturing and the experience it infuses in its patrons and customers, Vaishnavi would have identified her intellectual property. A matter of primary importance here would be one’s absolute ability in being able to establish their rightful ownership of the intangible heritage in question. Thereafter, the intellectual property is formalised through various means, such as a copyright, trade mark, design or patent.

Mr. Anand explained various forms of protection, wherein a title or logo or expression can be safeguarded as a trademark; a copyright bestows protection over an original music, literary or artistic work; and a patent protects innovation of process or product. Moreover, depending on aesthetic or ability of a garment or article to be recognised by trade as an origin like Burberry Check, patterns or configurations on garments can even be protected as a design or trade mark.

Bhavnagar’s Brijeshwari Kumari pertinently highlighted the more new age NFT or Non Fungible Token, which is a digitalised token used to help validate the ownership and rights of the article in question.

Once the intangible heritage has gained one of these legal forms of protection, it gains access to an entirely new realm of potential. One, its exclusivity has been defined and gained legal protection. With its particular authenticity being legally sanctified, the blatant imitation or misuse of the intangible heritage bears legal repercussions, a favourable deterrent for plagiarisers. Two, its official status as a protected intellectual property raises its chances of developing into an exclusive trade secret worthy of systematic monetisation. This feature is tremendously relevant in areas of art revival, wherein the artisan community suffers rapid decline due to the emergence of alternative manufacturing. In the absence of a copyright, trademark, patent or design protection, it becomes unviable for the particular art form to appeal for national or trans-national recognition. Mr. Anand adds that a copyright in particular is recognisable in 200+ countries and thus, is a powerful guarantor of its enforcement in most parts of the world.

Citing larger exemplars of the fashion world such as Hermes and Louis Vuitton, Mr. Anand familiarises us with the idea of protected intellectual properties creating an entire ecosystem that is duly secured. That is to say that if a larger brand gains legal protection for its intellectual property and intangible heritage, every level of its operations- from the artisan to the CEO are legally protected. The exclusive markers of its authenticity are therefore sanctified and optimised in their trade potential for the very reason of their exclusivity being recognised and certified.

Over time, the process of intellectual rights protection also helps assimilate the evolution of the heritage form involved with minimal dilution of its authentic form.

Speaking to this cohort in particular, Mr. Anand makes the powerful suggestion of forming an umbrella organisation of younger stakeholders, each one of whom shares with the other, the common value and intent of protecting their unique heritage. Not only does the idea of such a collective help sanctify a range of intangible heritage properties, but also accords a stronger lobby should any of its stakeholders find their intellectual property’s interests in conflict or danger.

His unparalleled wisdom and legal know-how notwithstanding, by simplifying his fascinating approach vis-a-vis intangible heritage as protected intellectual property, Mr. Safir Anand has given impetus to the younger generation of art & heritage revivalists, to reclaim their collective destinies by uniting in their common passion of revival.

Princess Diaries: Princess Lakshika Kumari Nagod And Her Lockdown Ripeness

December 5, 2023, 1:59 am

Second drive for underprivileged children. Keeping malnourishment in mind.Late Maharaj Saheb Kanti Dev Singh ji Nagod and his wife Kunwarani Saheba Shashi Mauli Kumari Saheba.HH Shri Barmendra Maharaj Shrimant Mahendra Singh Ju Dev Bahadur of Nagod. HH Barmendra Maharani Akhand Soubhahgyawati Shyam Kumari Saheba.Princess Lakshika Kumari Nagod carries out a drive for distribution of sanitary pads in a government school.Coat of Arms of Nagod state.Distribution of 2200 sanitary pads by Princess Lakshika Kumari Nagod.Princess Lakshika Kumari Nagod

Princess Lakshika Kumari belongs to the erstwhile princely state of Nagod in Central India. The rulers of Nagod are the Parihar Rajputs, one of the four Agnivansh clans, whose traditional home was Mount Abu. Honoured with 9 gun salutes by the British Government, the rulers were known for communal harmony and always advocated secularism and communal harmony in their state.

Their scion, the petite and pretty Rajkumari Lakshika is not just the custodian of the Nagod family, but also a responsible princess, a philanthropist and a revivalist in her own little way. Schooled from Daly College, Indore and currently pursuing Law, she has been in Nagod, studying remotely through the pandemic.

Living back home at the Nagod Fort, Lakshika has made social service and restoration the mainstay of her life with child and women welfare being the mainstay of her endeavors. “I was moved by the malnutrition that prevailed amongst the local children and the total neglect of personal hygiene amongst young girls. Whilst poverty was the reason behind the first, the latter stemmed from lack of information.”

Lakshika got down to changing the fate of both. She began feeding the very poor and needy children who lived in the tribal villages that surround her farm and ancestral home. Today she not just feeds these children, providing them with food that are a good source of nourishment she also provided them with books, toys and stationery to help them study at home. “We feed them with simple things like Bournvita Milk, glucose biscuits, daal and chawal each day. Also the pandemic has denied them from going to schools. This has directly affected the education of the girl child. Her parents living on the fringe of impoverishment have no money to even buy them books and pens.” Lakshika puts in the family’s funds to help them buy books and stationery, “Even toys to light up their life,” she smiles

As a young, conscientious girl Lakshika also foresaw the importance of menstrual hygiene, teaching sanitation norms to young girls and also lobbying with local manufacturers and the government to make sanitary napkins available to young girls. “The present government, both at the state and national level are committed to menstrual hygiene and I feel teaching hygiene to young girls helps them through life. Not just do they remain healthy but also face fewer issues during their pregnancy etc,” she shares.

Patronising regional craft is integral to royal families and Lakshika too wanted to work in that zone, reviving the long standing tradition of metal craft. She has flagged off a workshop to create utensils, infant complete dinner sets in Kansa or bell metal. “It is a metal found abundantly in our region, shares Lakshika. “Kansa has several theraupeutic benefits. It’s alloy alkalizes and purifies the food and promotes digestive health. Due it’s extraordinary health properties, even Ayurvedic physicians recommend Kansa, for holistic healing stress, relieving and purifying properties. Kansa has the ability to destroy microorganisms making the metal hygenic for use. The water stored in Kansa doesnt become stale and also the metal helps in preventing water borne diseases like diarohea, dysentry, jaundice etc. It also helps in cardiovascular health and beat anemia by regulating blood pressure.”

Just 20 years in age, Lakshika wants to link the development of bell metal with women empowerment, hoping to train women in a craft known best to men. Her dream is to work hard and make rural India a better world. We wish her luck in her journey.

The Jhadol-Jobat Royal Wedding

February 4, 2022, 8:13 am

Udaipur, the city of lakes lit up recently to the sights and sounds of the most gracious royal Jobat and Jhadol wedding between Rajkumari Maanvi Kumari of Jobat with Kunwar Tejveer Singh Jhala of Jhadol. Done keeping all the traditions of Rajput wedding sacrosanct, the wedding saw royal and noble families from across India grace the occasion. As many havelis that dot both the banks of the lake got filled with guests, Amet Haveli, got lit up to the festivities that filled the threeday wedding.

A graduate in Luxury Management, Maanvi, a smart and enterprising royal scion worked for Issey Mikaye and Brooks Brother in the US before joining Condenast’s marketing team before leading the Royal Fables heritage platform. Her work with heritage platforms focused on art, cuisine, cultural and textile revival and preserving work is also a step in that direction.

Granddaughter of Princess Shailesh Kumari of Marwar, Jodhpur who got married into Banswara, Maanvi from her paternal side is the only grandchild to late Rana Saheb Arjun Singh of Jobat. Nestled in the heartland of Madhya Pradesh, Jobat is home to one of the oldest Rathore dynasties. The fort built in Samvat 1648 (Indian calendar) is a private residence of the family currently. Kunwar Tejveer Singh Jhala is the eldest son of Maharaj (Dr.) Yuvraj Singhji Jhala of Jhadol. Tejveer is primarily managing his family properties and professionally in the hospitality line. Polo and riding is something that runs in his blood —a skill he’s learnt growing up from his grandfather. Currently continues to play in Udaipur as it’s something he’s extremely passionate about. History is something that intrigues him he’s done projects on period films and directed horse sequences. Some of his work projects involve Mirzya, Padmavat, Panipat, etc. The Jhala clan played an essential role in the history of Mewar as brave warriors. Six generations from then on fought on the battlefield, two out of six fought and died as the Maharana of Mewar (Ajja Singhji Jhala & Maan Singhji Jhala). The wedding was graced by the Maharaja of Jodhpur Maharaja Gaj Singhji (Maanvi’s grand uncle), the Maharana of Udaipur Mahender Singhji, the Nawab of Rampur, her uncle Maheshwar Singh from Banswara, grand uncle Raja Raghavendra Rathore amongst others. The best of Jodhpur and Indore families mingled with the royals and nobles of Udaipur. The Jenana Mehfil lit up to the sound of ghoomar as the many functions of Padla Dastoor, Bana Dastoor and Ganesh Staphna added to the auspicious revelry. The groom, a strapping young lad came riding majestically on a horse. As tradition would have it, he was greeted by the mother of the bride and blessed by all the aunts in the Jenana. The Limdi, Rohet, Bhainsrorgarh, Barwani, Kacchi Baroda, Jhabua, Badnore, Pratapgarh, Kangra-Lambragaon amongst many others graced the festivity. memorable Ceremony ANSHU KHANNA Udaipur lit up recently for the most gracious wedding between Rajkumari Maanvi Kumari of Jobat with Kunwar Tejveer Singh Jhala of Jhadol. THe JHaDol-JobaT royal WeDDInG Bride Rajkumari Maanvi Kumari (Jobat) with groom Kunwar Tejveer Singh Jhala (Jhadol) Groom

Kanwar Lakshyaraj Singh and Kanwarani Nivritti Singh of Mewar Udaipur

TURNING LOVE FOR DOGS INTO A PROFESSION

December 5, 2023, 1:59 am

Meet Rajasthan’s first female dog trainer and the only canine behaviourist in the state—Priyanshi Singh Shekhawat.

Eight years ago, Priyanshi had just returned to Jaipur from Mumbai after getting a degree in Economics and was unsure about what to do with her life.

“I was quite depressed as I didn’t particularly like the work environment in Jaipur and I couldn’t understand what career path to pursue. I was talking to my then-boyfriend (now husband), Shardul and a random conversation about my love for dogs led me to pursue a career in this field. I did two courses with Shirin Merchant, who is a pioneer in the field of canine behaviour and training in India and that’s how my journey as a dog trainer and behaviourist began.”

TRAINER VS BEHAVIOURIST

Now you may wonder what differentiates a dog behaviourist from a dog trainer. While a dog behaviourist works to understand why a dog may behave in a certain manner and modify that behaviour, a dog trainer, on the other hand, aims to teach the behaviour as generally asked by the dog owner. To put it simply, behaviourists are well-equipped to understand the dog’s behaviour as well as train them accordingly, a trainer, however, may not be able to handle underlying behavioural issues in dogs. “If a dog is misbehaving, then that means there is miscommunication between the dog and the owner. As a dog behaviourist, my job is to help dog owners understand the behaviour of their dog and mediate between them”, elaborates Priyanshi.

BREAKING STEREOTYPES

As a dog behaviourist, Priyanshi had to face certain challenges both at home and in the outside world. “Even though my father is a dog lover, he was quite apprehensive about taking up dog training as a career”, says Priyanshi. Being a largely male-dominated industry, it was also initially difficult for Priyanshi to garner the trust of people. “When I went for dog training sessions, people often asked me if I would be able to work with large breed dogs like Great Dane. They thought I could only work with small breeds like Shih Tzu.”

However, gradually she started getting recognition for work and today she is one of the most revered experts in this field in Jaipur.

INTIMATE WAY OF WORKING

On a usual day, Priyanshi gets several calls from dog owners complaining about issues like hyper or anxious behaviour, sibling rivalry, destructive behaviour, biting, resource guarding, among others.

Ask her how she deals with these issues and she says: “I prefer meeting the dog and the dog owner myself in their homes and most often than not what the owners tell me and what the dog’s behaviour tells me are two completely different things. It takes several one-on-one sessions with the dog, depending upon the problem, and a dedicated dog owner to tackle the problem.”

Soon Priyanshi also plans to open a dog school in Civil Lines to be able to work with more dogs.

SOCIAL MEDIA AS A GAME-CHANGER

While word-of-mouth publicity did wonders for Priyanshi, she looks at social media as a total game-changer.

“Through my videos and photos on Instagram, people were able to connect with my life and see how I handle my own dog as well as how I have helped other dog owners with various problems. In fact, it has even inspired some people to take up this profession ”, she points out.

BAIJILAL PADMAJA KUMARI JODHPUR: A PRINCESS WHO BROKE STEREOTYPES

January 28, 2022, 7:58 am

As a child, Baijilal Padmaja Kumari Rathore grew up hearing Rudyard Kipling’s ‘The Jungle Book’ stories from her grandmother. In which Bagheera and Baloo were her most favourite characters.

At times she also used to spend her childhood days in the Godwar region where her father Maharaj Rajendra Singh had inherited a tract of land which he always dreamt of converting into a forest and rewild it from its native flora and indigenous critically endangered species of medicinal plants and scrubs.

Bush Dinner at Bagheera’s camp Jawai.Baijilal Padmaja Kumari Jodhpur on safari at Jawai hills.Baijilal Padmaja Kumari Jodhpur.Rani Saheba Durgesh Nandini Kumari Jodhpur.Baijilal Padmaja Kumari Jodhpur.

Maharaj Rajendra Singh himself is a wildlife conservation aficionado and for 46 years he has been actively working and positively impacted in regions flora and fauna. He has also volunteered with the Indian Air force and has conducted surveys with the government for various projects such as Great Indian Bustard conservation, Black Buck protection, CITIES, WWF, flood-affected areas, afforestation water conservation and other notable conservation projects.

In 2006, he and his wife Rani Durgesh Nandini Singh founded Bagheera’s camp in the Godwar region on the inherited med land from his ancestors. Rani Durgesh Nandini has been working for the welfare of women community, empowerment, health, hygiene, and physical fitness in equal measures in the Godwar region.

Baijilal Padmaja Kumari is a young enthusiastic naturalist as well conservation she has been working since last 10 years, in the Godwar Jawai area, where she is running an eco-lodge keeping in mind all the conservation measures, of not just wildlife, but also helping the local communities by giving them employment in the lodge, and running different programmes for the upliftment of women, saving water and conservation of rainwater by rainwater harvesting. Planting the local trees, eradicating the weed etc. Several other opportunities for the locals she has started by establishing a school of self-learning where she trains and grooms the local tribes in hospitality management.

Creating awareness and importance of the wildlife, and the indigenous species of plants and medicinal uses.

Bagheera’s camp is located in Masai mara escape of Godwar region it comprises tented accommodation and three villas of two-bedroom sets each made with the help of local tribals and local materials.

The main objective of Bagheera’s camp is the sustainable development of the Godwar region. Godwar is 150 years old lifeline and the last green western frontier of India and it acts as a bridge between Mewar and Marwar. Here animals and humans coexist in harmony.

An ecotel community has been built and operated and schools were created by tribals for wildlife between 2006 to 2018. With her help and guidance from 2014 to 2016, Godwar Chipkoo Movement providing wildlife awareness and conservation were started.

The restoration of Kambeshwar Mahadev also took place which provides a corridor for domestic and migratory species of flora and fauna. Godwar region is home to over 235 species of birds, six endangered wild cats, 30 medicinal plants, mammals like hyenas, sloth bears, mugger (freshwater Crocodile), pangolins. And also the endangered human communities of Garasiya tribes and Marwari Rabaris. Tourism in the Godwar region has impacted positively, effectively and uplifted the lives of around 3500 people in the vicinity directly or indirectly.

The couple is perfect envoys to spread the message of soil conservations with respect to humans, animals, birds, plants, trees, shrubs, and water. Both their daughters have inherited the quality of their parents of respect for elders and love for nature.

Princess Padmaja Kumari Rathore after completing her graduation in BA Hons and Hotel management from IHM Aurangabad decided to live her parents’ dream making it come true in every possible manner in the Godwar Jawai region. Princess Padmaja Kumari has been actively working in sensitive and sustainable wildlife tourism and also trying to reestablish the native flora hosting 30 species of endangered desert plants, where in she has restored 10 hectares of decimated land through sustainable grazing.

A WAVE AGAINST THE CURRENT: GOVIND SINGH RATHORE AND THE SAMBHALI TRUST

December 5, 2023, 1:59 am

Worldwide, it is a common feature for boys from male-centric family setups to grow up into active perpetrators of the very patriarchy that they were raised amidst. Add to that the socio-cultural dividends accorded to patriarchs in more conservative milieus, which further bolsters male-chauvinistic conducts of behaviours and mindsets as a widely accepted and rewarded norm. Direct and indirect references to social misconducts warranted by patriarchy pervade across class, caste, race and religious barriers in most parts of the world, but their increasing severity towards the more underprivileged rungs of every society are obvious. Not only does the lack of social mobility subject certain groups to more intensified discrimination, but also makes their redressals more elusive. And until those with socio-economic capital don’t step in as active contenders, these social evils will continue to pervade and plague our existence.

Govind Singh Rathore.Amongst the series of vocational training initiatives, sewing has emerged as a popular skillset.A workshop with members of the Sambhali Trust.Govind Singh Rathore with a few members of the Sambhali Trust.

An acute exception to this standard progression of patriarchal norms in Rajasthan is Govind Singh Rathore, the elder son of a traditional Rajput family in Jodhpur City. Having had been birthed and brought up there, Govind became a conscious receptor of his family’s patriarchal ways at a relatively young age. In this regard, his experience is not very different from other boys his age, who too, receive an upbringing soaked in male entitlement and privilege. The institutionalisation of women subordination, that they witness through their family’s treatment of its female members is normalised in the very psyches of young boys and men. But Govind’s mental make-up would set him apart from other boys his age in more ways than one.

Govind was only 15 when his father died, leaving his mother hapless to contend with the stiffening destiny of widowhood. The lack of dignity that a society accorded to its women, especially those with the lack of protection of a male member pierced Govind’s heart. Even worse off than women of India’s higher castes were those from Dalit and minority communities, whose gloomy futures as women are further doused by their lower caste standing. With a lack of not just societal sympathy, but a total absence of familial support and compassion, what was their escape route from this labyrinth of misery?

After long mulling over this question, there came a day in 2006 when Govind finally found an answer. The prime and most obvious barrier to their social emancipation, as Govind identified, was their illiteracy and financial dependence. “That day, I decided to do something for the disadvantaged women and asked my house-maid Meera to bring her two non-school going daughters over, so that I could begin teaching them some reading and writing. To my surprise, 18 girls turned up with my housemaid the following day. Perplexed as I was, I didn’t refuse anyone and set off with the motivation of my wife Mukta and a small fund pooled in from the earning of my ancestral guest house, Durag Niwas”, says Govind.

This seemingly small philanthropic venture organically began to grow, and its overwhelming response soon led to the Sambhali Trust, which Govind founded in the January of 2007 as a non-profit organisation with an amplified resolve to provide distressed women with a sense of belonging through a community that enabled their education and vocational training. Members of the Sambhali Trust devised a quest for its sustainability by showcasing their craft handiworks through the Sambhali Boutique. Over time, Govind’s humble venture has reached out to over 10,000 women and girls in and around Jodhpur through nine empowerment centres and two boarding homes that provide basic education and sewing training to its inhabitants. He also led Sambhali Trust’s ripples to his ancestral village of Setarwa, wherein academic scholarships, self-defence training workshops and micro-finance projects have gathered wind to stir a gleam of hope in the lives of disadvantaged women and girls.

Up until now, Govind Singh Rathore’s passionate endeavours in the field of philanthropy sound like a much-needed fairy tale in our troubled times. However, there is a price to pay for every convention broken, and Govind shares his own consequences—“With no experience and guide to run a charity, I faced sceptical behaviour of the community being a Rajput working for the SC/ST, being a Hindu involving myself with a Muslin community, being a man working for women. Discrimination of some members in the family not accepting to even drink water at our home for this, judgemental behaviour of people for NGO’s and foreign volunteers, people even thought I was involved with missionaries looking for SC/ST’s to bribe them and change their religion.”

That said, it is evident as to how Govind’s resolve to bring about change in his world proved to be far stronger than the cynicism and distrust he faced. Today, Sambhali Trust attracts thousands of volunteers and interns from India as well as around the world, and has marked its presence in five countries and has got an accreditation from the United Nations Economic and Social Council (ECOSOC).

His true zeal and passion to bring about change left Govind’s resolve undeterred even during the onset of the recent pandemic. When the outspread of Covid-19 brought tourism to a complete standstill, Govind offered his familial guest house to the health administration to serve as an isolation facility and relocated his family and some volunteers at Setarwa.

For the next three months of lockdown and rampant unemployment, Govind stirred through the sweltering desert heat providing ration to villagers. “I am delighted that God up there chose me for this noble work, I will not back off come what may”, Govind concludes.

DR RAVIDARSHAN VYAS HOSTS SOLO SHOW AT AHMEDABAD’S ICONIC ART ADDRESS

December 5, 2023, 1:59 am

It’s very rare for a qualified practitioner of Ayurveda to also be an artist behind museum-quality art. Dr Ravidarshan Vyas, the Rajya Vaid of Gondol state in Gujarat, is one such exception. He recently hosted his solo show of paintings, his live’s repertoire. Works in oil that capture what he calls the history of royal India, its mythology and regal folklore. Hugely inspired by the genre of calendar artist Raja Ravi Verma, Ravidarshan, who also helms the much revered Shaktipeeth Bhuveneshwari Temple, had a galaxy of royal stars attending his preview. From the Maharawal of Baria to the princess of Bhavnagar, the Nawab of Balasinore and the scion of his own state of Gondol, Dr Vyas got them all to attend. Including the heir to the Hutheesing family Umang Hutheesing who finds his art, “European in style and fiercely Indian in story.”

Maharaval Tushar Singh Devgarh Baria with the art and Nawab Salauddin Khan Babi of Balasinore.Rohit Raje Deshmukh of Surguna Maharashtra .Mahalaxmi.Vyas.Darbar Saheb Satyajit Khacher, Rani Alaukika Raje, Yuvraaj Raviraj, and KS Shivraj of Jasdan.Mrs and Mr Vyas with Bijeshwari Gohil of Bhavnagar, and KS Jyotirmah Sinhji of Gondol.The royal line up

Grandson of the much-acclaimed Vaidya His Holiness Acharya Shri Charan Tirtha Maharaja, he steers a pharmacy founded in 1904. “My grandfather was the royal physician of many states of Gujarat and Rajasthan. Though based out of Gondol in Kathiawar, we were consulting many leading families like Jodhpur, Rajkot, Jasdan etc.”

Heir to this legacy of science, Ravidarshan is a lover of art, qualified in homoeopathy, and still consults. Besides being the Gaddi Pati of Bhuvaneshwari Temple, a Shakti Peeth revered by people of Gujarat, living across the globe.

“I am not really trained in an institution. I paint through the inner instinct of growing up amongst Ravi Varma’s art.” The Vyas family enjoys a deep closeness to the Jasdan royal family and Baroda and in his work, you will find many references to parts of their stunning palaces. Like the Maand room in Jasdan Palace that is a reflection of the local craft of mirror work and has sparkling brass urns piled upright to its roof. Ravidarshan paints an image of the siblings Krishna and Subhadra chatting in this very room. Then there is the image of Mohini, half male, half female seductress, who could lure the most saintly of saints in Laxmi Vilas Palace, Baroda.

“Raja Ravi Varma’s every brushstroke captures the depth of Indian mythological history. In his work, I find a Godlike innocence and in my own way I try to recreate that rare reverence.”

Curated by Deep Khatri with whom Dr Vyas creates art inspired fashion, the show also throws light on some recent works like his interpretation of the erstwhile Rani of Ayodhya. Waking to visions of the sheer sadness of her life, he captures her in the jungle, devastated and lost.

He shares, “Ayodhaya was a flourishing kingdom even after Rama rajya. Manorama, married into the family saw her life tumbling down losing her husband, her kingdom and her wealth. To save the real heir of the empire her son Sudarshana, she escaped to the jungle and my painting portrayed her lost in a devastated jungle. The burnt wood carved frame represents devastated Ayodhya suffering due to this sudden incident.”

Gods, goddesses, Maharanis and their strife filled life, Ravidarshan’s art, carrying forward the vivid genre of Ravi Verma’s art, is a must-watch for those living in Gujarat.

(DIS)UNITY IN DIVERSITY?

December 5, 2023, 1:59 am

As an Indian, I have held immense pride in my nation’s diversity of regions, topographies, languages, cuisines, traditional attires and religions to name but a few. This diversity’s gruesome heads to surface every now and then, but the utopian in me seeks solace in India’s symbiotic retention of parallel worlds, realities and truths. Of holding both, apples and oranges, chalk and cheese in one marvellous subcontinental platter. Where progressive and fascist political agendas relay side by side, India’s ever-continuing power of dissent seems threatening to more and more citizens and netizens.

For the sake of individual thought and liberty, I hope for socially constructive dissent to prevail above and beyond the shackles of threat that it faces. But after shedding a naive vestige of my perceptions, I also understand that dissent and threat are impersonated and conducted by us, the very people who constitute India and the world at large.

Whereby there was a time in India a few decades ago where differences in political ideologies could very well hold a civilised conversation, today they host an economy of squealing prime time debates. Whereby there was a time when diverse religious identities co-inhabited unassuming neighbourhoods, today many of them lie ghettoised. Some in hushed tones, and the others more boldly so. After years of observing this organised chaos, Mark Tully once remarked that in India, we don’t cast our vote but rather, vote our caste. Having being born and brought up in a family with ample political participation, my pragmatism knows that contesting the caste-based or religious-based vote banks, especially in less urbanised parts of India is asking for too much. But how do our identity markers find ways of pervading so rudimentarily?

Soft ethnocentrism and territorial attitudes vis-a-vis us fellow Indians would make many like myself concede to the otherwise casual remark touting Indians to be amongst the most racist and discriminatory people in the world. In my backing of this argument, I am not even factoring in the post-colonial shambles of racism or counter racism yet. If we take a minute to consider the alienating extent of the oblivion that percolates south of the Vindhyas, and the resentment it triggers in return for the butter chicken-eating, noisy north Indians, many more such tropes from our personal experiences begin to jostle in.

In my own case, I’ve grown up in a multi-cultural family that constitutes a mix of Rajasthani, Gujarati, Himachali, Kashmiri and Bundelkhandi influences. Thanks to the privilege of the resultant cultural exposure, my worldview isn’t as geographically confined. But on the downside, this very advantage makes ethnic myopias seem more acute to bear. As a full-time resident and hotelier of Manali, I have become habituated to being asked about my story from Rajasthan to here. Which is perfectly alright, until the unsuspecting ‘local’ asks whether or not I am a ‘local’ myself. Given that I am a registered voter of Himachal Pradesh, I am told that I don’t look or seem like a local. How is one expected to bargain that? I remember my Nepalese classmates from Mayo putting their experiences into one poignant phrase, that after 9 years of being in an Indian boarding school, they were too Indian to count as Nepali, and still too Nepali to count amongst Indians. Indian diaspora is sure to relate to the same transnational alienation that they still might feel, no matter how many more bridges globalisation physically erects. But for most of us even at home, intra-national alienation is as real as it gets.

The average commuter is expected to notice the overwhelming discrimination accorded to drivers bearing number plates from ‘outside states’. Never mind the state number plate defaulters, it’s the outsider who is more likely to be harassed over the very same trivialities. Should a person belonging to a different state express their keen interest and/or genuine knowledge in my own, I forsake curiosity for my ego and am so easily threatened. Is being an Indian not enough? This might be a more reasonable question before I can begin fancying the idea of questioning whether being human will ever be enough.

One takeaway looks my way. The very diversity that united us seems to create divides. The question is the same as the answer. We embody the difference, the similarity, the unity and the diversity.

It makes us kind just as it makes us cruel. The only variable there is, and the only one that matters right now, is which of the two ends we choose.

A WOMAN AHEAD OF HER TIMES

January 14, 2022, 11:19 am

Shrimati Jagjit Inder Kumari was the fourth daughter of Late Raja Jaganath Singhji of Daulatpur and his wife Rani Saheba Hiteshindra Kumari who belonged to Patiala Royal family daughter of Raja Ranbir Singhji of Patiala.

Being born in the times of purdah she had a vision that was quite different than her brothers and sisters. She was a woman filled with daring, never scared of speaking the truth and alone managed to do a lot of things that nobody ever imagined.

Shrimati Jagjit Inder Kumari.

Her father late Rajasaheb Jaganath Singhji was addicted to alcohol and she was very close to her father she didn’t go to boarding school like her other siblings who got educated in Doons, Welhams, MGD girls school and Mayoor School Ajmer. Rather she stayed back with her parents in Bhopal and looked after them and their properties. Though her mother was from Patiala they had a lot of financial support also at times from Patiala.

But once her mother passed away things changed and situations worsened. Her father being addicted to alcohol had sold their palace and all the agricultural land of Daulatpur to his cousin brother Laxman Singhji in 1958.

Late Maharaj Saheb Madhusudan Sinhji and Late Shrimati Jagjit Inder Kumari.

Once when Shrimati Jagjit Inder Kumari had gone to Daulatpur to pay condolence to Rajputohit of Daulatpur jagir she requested Laxman Singhji to let her worship ‘Gadi Madi Mata’ their diety the Kuldevi that’s when Laxman Singhji misbehaved with her and she decided to pay the debts of her father and take back the entire property. She did manage to but it back from her uncle Laxman Singhji not only that but she also bought a plot from the villager and gave it to Laxman Singhji along with the money.

After that along with her father and her younger sister Srimati Mohini Inder Kumari married in Jamnagar family now stayed sometimes in Daulatpur and sometimes in Bhopal. She had set up a small business for women empowerment in Daulatpur village where they used to make small toys made of wood as Daulatpur being on the periphery of Kheoni Sanctuary had a lot of teak and bamboo wood once in abundance. And she also used to get the zardozi work done in the small town of Sehore and sell these products in fairs which were held in cities like Bhopal. She used to travel on horseback, and a lot more adventures she did being unmarried and when the society was orthodox and people believed in purdah in spite of Daulatpur being jagir of Bhopal state. She broke the stereotypes.

Late Maharaj Saheb Madhusudann Sinjji at Daulatpur Garhi along with the villagers.

Later in January 1963, she got married to Maharaj Saheb Madhusudan Sinhji of Danta Bhawangadh one of the princely states of Gujarat, Maharaj Saheb Madhusudan Sinhji was the second son of Late Maharana Sir Bhawani Sinhji and Late Maharanisa Anand Kunwar Ba of Danta Bhawangadh.

In Danta too she tried to set up a small business like dairy farming, making of pickles and papad but unfortunately the luck didn’t support her and she was unsuccessful in it. Along with that as she had to look after Daulatpur too as well as her father and her younger sister who was unmarried then, she helped her younger sister in getting married and looked after her father who used to stay in Daulatpur. Unfortunately, her father late Raja Saheb Jaganath Singhji got infected by the deadly disease of Cancer and Jagjit Inder Kumari also went into financial crisis and she also got infected with high diabetes as well she lost her elder son as she could not take care of him as he was an immature born child. Her spirits went low and hence she had to send her father to Bhopal to live with her brother Bharat Inder Singhji and then in his last days Raja Jaganath Singhji was sent to Kalapeepal at his cousin brothers house where his cousins and his nephews took care of him and he took his last breath and due to heavy rains, his cremation was also done in Kalapeepal and not in Daulatpur.

After her father’s demise and being a diabetic patient she could not look after her properties in Daulatpur hence everything she had in Daulatpur she willed it to her younger daughter Rajkumari Gitanjali Devi.

As long as she lived in Daulatpur and also in Danta she worked for a lot of people especially the villagers. She wasn’t a graduate but she had quite a good knowledge of ayurvedic medicines as she was fond of reading she had learned a lot. Today she lives in the heart of the people of Daulatpur for whom she often went out of the way and worked.

After marriage, the younger daughter for almost nearly 10 years with her husband Mr. Dharamsingh Karmyal stayed in Daulatpur and practiced agriculture but for their kids better education and future, their sold the agricultural land moved to Gujarat and somehow due to some misunderstandings today the fortress of Daulatpur has become a government entity—which is a big question mark as no one knows how and why it happened.

Later on 6 June 1996 after a long battle with diabetes, she took her last breath in a hospital in Palanpur. And being bahu of Danta she was cremated in the Royal Crematorium of Danta which is in Gangwa village a jagir of Danta.

Shrimati Jagjit Inder Kumari had three children. Two daughters namely Rajkumari Hemangni Devi married to Menghani and Rajkumari Gitanjali Devi married to Mr. Dharamsingh Karmyal. One son Rajkumar Harshvardhan Sinhji married to Kunwarani Vrindakumari of Gorad Jagir.

That was she the Legend Shrimati Jagjit Inder Kumari in my eyes she was definitely a hero. She never let anyone leave her house empty stomach. She was always fond of cooking and hosting people over food. She also helped lots of people for getting jobs and helped the people by providing medical facilities if they could not afford them. She used to provide food to those people living in nearby areas and couldn’t afford it.

She was a divine soul who believed in helping people around her in whatever small or big form she could. Because she believed helping a person in need is equivalent to worshiping God.

Hence in her fond memories and remembrance, I Khyati Singh granddaughter of Shrimati Jagjit Inder Kumari has started a foundation ‘Food for cause’ for old people suffering from Alzheimer who are seen on public places like railway stations and bus stations where we provide them food with the help of local tea stalls who provide us the information about these kinds of people.

Currently, we have started our first batch at Aburoad railway station. Also, we would like if anyone wants to join us can always get in touch with us on our Instagram handle @khyatisingh784. Slowly and gradually our mission will also be to provide education to the students who cannot afford fees for their school. This year we have enrolled only one student, but we look forward to many more.

EIGHT ROYALS TO WATCH OUT FOR IN 2022

January 7, 2022, 7:40 am

2022 though begun on a fearful note remains another year, another hope. We list for you eight incredible royals, young and promising who will make the year a success story in their journey towards perfection.

PRINCESS DIYA KUMARI OF JAIPUR:

Princess DIya Kumari

A custodian of Jaipur’s rich cultural heritage, the torchbearer for girl’s rights in Rajasthan, a member of parliament who won with a thumping majority from Rajsamand, a strong voice for BJP in Rajasthan and a philanthropist who, through her, NGO PDKF has empowered hundreds of women in Rajsamand and Sawai Madhopur, Diya Kumari is emerging as a leader to watch out for. The torchbearer for the role royals can play in present-day politics.

HH MAHARANI RADHIKARAJE OF GAEKWAD:

Maharani Radhikaraje

The palace is alive once again: with the sound of music, the patronage of craft and the promise of philanthropy. The Laxmi Vilas Palace at Baroda has become an oasis of craft and culture under the patronage of its Maharani Radhika Raje. Possibly the strongest voice in craft revival today, Radhika is as vocal in saving our animals as she is committed to the cause of women empowerment. Through the pandemic, she worked hard to support those truly marginalised like the LGBTQ community of Gujarat. May she continue to play her role of the protagonist to perfection.

PRINCESS MRIGANKA KUMARI OF PRATAPGARH:

Princess Mriganka Kumari

Tucked away in rural regions of Avadh, Pratapgarh is finding itself in the midst of refined living with its Princess Mriganka Kumari presenting to the world an amazing array of honey, ghee, pickles and salts that are produced under her stunningly curated label Pratapgarh Collective. Following 100 percent natural processes, this farm-to-table story is cultivated by women of the village who now stand tall on their independent feet and has found their way to the dining table of film stars, leading influencers and connoisseurs of true taste.

PRINCESS VAISHNAVI KUMARI OF KISHANGARH:

Princess-Vaishnavi-Kumari

Legacy is for most royals to keep, but turning it into a mystical fable is Princess Vaishnavi Kumari of Kishangarh. Heir to the legacy of miniature art personified by Kishangarh’s Radha, Vaishnavi, a SOAS graduate is all set to present before the world her creative oeuvres with art this year. We wish her all the best. Known for its pichwais, its Kamdhenu cow and its valorous, playful Krishna, this art form under Vaishnavi has adapted a more pop approach. Deeply inspired by Pakistan’s reigning pop art, she hopes to add this element to Kishangarh miniatures.

YUVRAAJ VIKRAMADITYA SINGH OF J&K:

YUVRAAJ VIKRAMADITYA SINGH

Home to his family Karan Mahal is now a beacon of heritage luxury for the world to see. The Yuvraaj of Jammu & Kashmir paves the way for inherited homes to turn into cordon bleu luxury homes that also houses nostalgia and memorabilia in many ways. Karan Mahal, all of seven keys sits on the saddle between two hills—one of them the Shankaracharya peak—of the Zabarwan mountain range. Nearly 60 acres of orchards and woods surround it. With Covid driving the world towards terrains more serene, and Kashmir opening up, this heritage hotel promises to be the toast of 2022.

JEMA AKSHITA BHANJDEO OF MAYURBHANJ:

Jema Akshita Bhanjdeo

The title of a princess who cares sits best on her able shoulders. Akshita Bhanjdeo has made it to many glossy covers as not just a perfect host in her majestic Mayurbhanj home, now a heritage property. But also as someone who has emerged a strong voice in the world of sustainable and slow fashion. The project Karkhana chronicles taking the grass-root craft to Haute, stylish levels.

HH MAHARANI PRIYARAJE SCINDIA OF GWALIOR:

HH MAHARANI PRIYARAJE SCINDIA

Born into the Gaekwad legacy of Baroda and married to the dynamic aviation minister of India, Jyotiraditya Scindia, Priyaraje is an educationist, a culture protagonist, and a heritage promoter who is quietly working towards bringing world-class experiences to her land of Madhya Pradesh. A strong believer in promoting experiential tourism, she is all set to emerge as a strong voice in this realm.

MAHARAJA CHAITANYA RAJ OF JAISALMER:

MAHARAJA CHAITANYA RAJ

Last year changed his life forever placing this young lad all of 24 into the seat of power after his father passed away. Chaitanya Raj Bhati’s swearing-in was covered extensively by the media. Now at the helm of his family’s varied businesses he is also getting set to promote the life of his people in Jaisalmer. The Rajkumari Ratnavati Girls being one of his most commendable contributions as a young Maharaja.

A project initiated by the international non-profit organisation CITTA, and operated by its India’s arm, it is located near the village of Kanoi, Jaisalmer. Donated by Chaitanya Raj Singh it has his total attention. Best of luck to the young Maharaja who is trying to fit into his inherited throne.

RAJASTHAN’S GOLDEN MARKSWOMEN

December 5, 2023, 1:59 am

Rajputana’s archaic association with warrior-ship has translated during less feudal eras into renowned sportsmanship in the fields of equestrian sports and marksmanship amongst others. Late H.H. Maharaja Karni Singhji of Bikaner made India’s mark in the world of shooting, a legacy that his daughter, H.H. Baijilal Rajshree Kumari inherited and proved to be a trailblazer indeed. In more recent times, Rajyavardhan Singh Rathore’s Olympic and Apurvi Chandela’s Commonwealth medals brought immense pride to the nation. While male expedience in sports generalised as masculine is expectingly lauded, increasing participation of women in these disciplines is reclaiming the sphere altogether. Moreover, the oft-forgotten martial expedience of Rajput women is revived every time a woman shooter narrows down on her target and fires her weapon.

Himangini Rathore Hooja (R) with Geetanjali Singh (L) at the 2019 National Championship

With Bihar’s Shreyasi Singh clinching two golds at the recent national championship in Patiala, Rajasthan’s women double trap shooting team ruled the winning podium, winning their state gold with their cumulative scores. Thus, it can be said without doubt that this year’s double trap shooting season truly belonged to Rajputana’s various daughters. With Shreyasi’s forthcoming feature on the horizon, Rajputana Collective proudly celebrates the victories of champions Himangini Rathore Hooja and Anushka Singh Bhati. Members of Rajasthan’s trapshooting team that emerged victorious this year, both Himangini and Anushka share their journeys as trap shooters - how it all started, their highs and lows, and insights into India’s shooting world.

Bearing her ancestral roots in erstwhile Bikaner’s Ghantel thikana, Himangini Rathore Hooja reminisces growing up to the glorious tales of late H.H. Karni Singhji. She was blessed with the streak of her maternal grandmother (Nanisa), who made her mark by winning small bore competitions in Uttar Pradesh’s Tala estate as early as the ’60s. Despite that, it wasn’t until after Himangini’s marriage that she took to shooting clay pigeons. “My husband enjoyed clay shooting and encouraged me to visit the shotgun range with him at Jaipur. I fired my first shot in 2011, but I only took up shooting in 2015”, she says.

Anushka Singh Bhati (L) and Himangini Rathore Hooja (R) after competing at the Rajasthan states tournament

Subsequently, her younger teammate, Anushka Singh Bhati elaborates on her beginnings. “My papa got me into shooting, as he was a national-level shooter in the 1980s and wanted to introduce his children to the sport as well. When we were young, he’d take us to the range. Initially, I started with pistol but then got into trap as it was an outdoor sport and I liked that. Initially, I was quite hesitant but my parents and brother Janmejay motivated me. I smashed my first clay bird in trap, it was my first ever target with a little bit of beginner’s luck.”

Himangini’s recently acquired all-India ranking of 4th in double trap accords a convincing validity to her statement, and she is truly walking the talk. In similar conjunction, Anushka’s impressive qualification into India’s top 15 in women’s trap and double trap events supplicates this community-centric conviction. Moreover, she is the only woman shooter from Rajasthan to have qualified An athlete endorsed by Khelo India, Anushka won Rajasthan its first-ever gold medal in the senior trap mixed team event with Manavaditya Singh Rathore.

While sharing their rise in shooting glory, both Himangini and Anushka pay their worse days at the range their due. “I definitely have a lot of low days where I feel unhappy with myself when I am not able to invest mentally in the game to the extent that I feel I should be”, Himangini adds. Anushka too shares a day in the recent nationals when she was left distraught by her unexpected performance. These shooting blues are a feeling that every practicing shooter or even sportsman can relate to. But success comes to the stubborn hearted, and evidently so. Within two years of shooting, in the 2017 nationals, Himangini had made her way into the trap finals match. On a similar feat, Anushka too scored her lucky 25/25 in her second nationals’ participation.

The need to bolster India’s infrastructure for shotgun shooting though is one that both concur with. “I don’t think that the current infrastructure is sufficient for the growing talent in shotgun shooting. To begin with, there is a shortage of ranges all over India. Other than that, the licensing procedure for weapons is a very complicated procedure and offers little support”, Anushka comments. Adding to that, Himangini says, “Trap shooting is an expensive sport. Availability of firearms and ammunition is a tremendous problem when one is just starting off with clay shooting. Also, while both- the union and state governments provide financial support, the actual disbursement of funds could be made more prompt. In my case, the Rajasthan Rifle Association has been extremely supportive through the years, and I feel the support of local, district and state associations will help the growth of national talent.”

The adverse impacts of Covid-19 on the sport of trap shooting is another aspect that is difficult for shooters worldwide to sideline. “We didn’t get to practice much in the past two years due to Covid and not many matches were held. This led to a lack of mental preparation that affected my performance in the last nationals”, Anushka elaborates. Himangini holds a relatively more optimistic approach. Although factors relating to the pandemic and personal safety do divert one’s mind with additional elements apart from shooting while in a competition, she credits the open-aired nature of the sport as a crucial safeguard. “At the ranges in Jaipur, all shooters were extremely considerate and careful regarding Covid norms”, she adds.

When asked about their favourite marksmen, Anushka idolises Michael Diamond and had the good fortune of meeting him during his visit to the Rajasthan OASES Range. Himangini mentions Slovak Shooter Zuzana Štefečeková as her shooting inspiration and praises her for her performance at the Tokyo Olympics. In the 2019 nationals, the duo was a part of the teams that had won Rajasthan silvers in trap and double trap. That marked a special year for being their first silver victory, and 2021 made them bring home the gold.

SUSHI DONE THE AR(T)ISAN WAY!

December 5, 2023, 1:59 am

The Arisan Food Factory needs little or no introduction for the culinary legacies that it has recently unfurled in the Pink City. From DOJO, its pilot cloud kitchen broke Jaipur’s sushi barrier to Olio, its recent Mediterranean fare, the young chain of restaurants has truly taken Jaipur’s foodies by storm. Its latest label, Manchaha, celebrates the regional delicacies of India with a fusion twist of its own. After all, the novel ideas of truffle mushroom galauti and Balchao paneer tikka are as impossible to resist as are the bhootjolokia chicken wings. After months of anticipation, Rajputana Collective finally converses with the mastermind behind it all. Aridaman Singh Rathore or Ari, as he is more fondly known, opens up about his inspirational journey as one of Jaipur’s most notable entrepreneurs. We brace ourselves as we are taken through how it all started, the big leap thereafter and where it is all headed now.

Aridaman Singh Rathore.

Shrimp Tempura Roll by DOJO

Avocado Tempura Roll by DOJO.

Residents of Jaipur could well agree that a little over four years from today, a devoted lover of sushi would have to drive some 270 kilometres one way to the national capital to savour their favourite nigiri and hosomaki rolls. A close second alternative lay at the Japanese industrial area in Neemrana, again around a 150 kilometres drive from Jaipur and clearly not for the faint-hearted. Aridaman Singh Rathore was one such hardcore sushi fan, who would jump at any excuse to drive to Delhi because it meant gorging on a plate full of spicy tuna and dynamite rolls. When it came to dim sums too, Jaipur’s scanty options made for a rather bleak scenario. For most of Pink City, an outing to a bigger metropolitan almost always included at least one Pan-Asian dine-out.

All this was about to change in 2018 when Aridaman’s unparalleled love for sushi and pan-Asian led him to venture into the vast world of culinary enterprises. This bold and daring venture of his amounted to the birth of the Arisan Food Factory and its first cloud kitchen which Aridaman named DOJO. As Jaipur’s first standalone sushi home delivery service, Aridaman’sendeavour was twofold. One, to provide a product at par with the metro alternatives of sushi; and two, to remove the snob value that is often attached to sushi.

His vision of opting for the delivery module hoped to encourage people to try this increasingly popular Japanese delicacy in the comfort of their homes. Notwithstanding the authentic flavours that DOJO was successful in attaching from its very first sushi order, its nomenclature, along with that of its parent company is worth a brief glimpse. As Aridaman explains, “I admire Japanese culture a lot, and that is one of the reasons that pushed me to give the Japanese cuisine a try. My subsequent love for sushi and all things Japanese (even my favourite movie is the Last Samurai) prompted me to call my venture Arisan. It’s Ari, what my friends call me, with a Japanese twist. DOJO, on the other hand, is a Japanese word denoting a place for immersive learning and meditation, traditionally in the field of martial arts. I named my sushi brand DOJO because I think cooking is very meditative and one needs great concentration, especially while making sushi, because everything about it is an art, and so precise.”

From its very inception, DOJO devised ways to combat challenges that were as creative as its nomenclature. Aridaman reminisces over days when he had to source the most basic ingredients such as edamame and sushi-grade salmon from Delhi. He even ensured the retention of his first sushi chef by housing him in his personal guest room.

“I remember during peak hours, I did deliveries on my own as there was no Swiggy Genie back then. My driver doubled up as the cashier in the first few months and subsequently, he became DOJO’s first manager. As orders started pouring in, my wife Devyani took over their coordination. Many friends would be surprised when they called to order and heard Devyani on the other end of the line. In fact, she even took onto the purchase and sales completely, thus allowing me to focus solely on the food and quality control”, Aridaman adds.

After a power-packed yet organic start, Aridaman, Devyani and their team took their first leap as restauranteurs in mid-2019 and leased space in Narain Niwas Palace Hotel’s shopping courtyard. It was Jaipur’s first micro-restaurant, as Aridaman calls it, with only 12 seats and a keen focus on sushi and dim sum. The soon-approaching pandemic caused a huge blow to the culinary market as well and imposed numerous limitations on the growth that was in store for this new venture. Just then, Aridaman’s uncle and owner of Narain Niwas Palace Hotel, Thakur Man Singhji and his son Pratap made the kind offer of collaborating their iconic restro-bar, Shikaarbagh with DOJO. There was no looking back after this for Arisan Food Factory.

Now housed in one of Pink City’s hottest dining spots, DOJO at Shikaarbagh, has grown from strength to strength since, and is continuously enhancing both, its menu and products side by side. Speaking of which, Aridaman says, “We are happy to share that this partnership is over a year old and Pratap and I are working towards taking Jaipur’s pan-Asian food scene to a higher level in 2022, with the addition of many new recipes and exotic items that have us busy in the kitchen right now.”

With the upcoming possibility of an intimate dining space or a dessert studio, Aridaman pays his tribute to the love and support that he got from his clients, and to the recognition received for the risks that he took. “Much to our amazement, what started out as a small passion project took on a life of its own. DOJO has gained a huge client base very quickly. Our clients almost became a part of the business by encouraging us and cheering us on throughout. Many special requests found a place on our menu. We were very open to customisation and special requests, especially for children. Trying out new dishes and concepts every now and then is our mantra for innovation”, he concludes.

We send much praise down DOJO’s way not only for the remarkable feat that its team has achieved in terms of putting Jaipur on India’s sushi map, but for also growing into an exemplar of family-run food enterprises that are giving larger corporates a run for their money, and for the right reasons.

With Arisan Food Factory spreading its wings over other culinary fares, Jaipur has much to brace for and behold, and to be very, very proud of. Amongst other things, Pink City has one less reason to dash off to Delhi!

ROYALTY BEHIND THE LENS

December 31, 2021, 7:15 am

Posing for portraiture is an integral part of royal life. Globally those born of blue blood are known to pose before celebrated portrait artists and photographers. Indeed portraits in various hues of sepia remain the most prized possessions of inheritors of royal legacy. Period books, walls of museums, lived in palaces are full of memorable ‘Kodak’ moments.

Princess Dürrüsehvar Sultan of Berar.The Prime Minister of Manipur in 1944.Gayatri Devi.

Princess Karam of Kapurthala.

Ram Gopal.

The imagery of a young Lilibet with her Prince at her coronation, at a holiday in Sandringham House or on an imperial visit overseas are part of the globe’s collective memory. Interestingly, many of those photographs were captured by Cecil Beaton, a British fashion, portrait and war photographer, painter, and interior designer, as well as an Oscar-winning stage designer for films and the theatre.

Beatonwas born into the family of wealthy timber merchants. While growing up he was gifted a Kodak 3A Camera by his nanny who began teaching him the basics of photography and developing film.

Beatonwas would often get his sisters and mother to sit for him. When he was sufficiently proficient, he would send the photos off to London society magazines, often writing under a pen name and “recommending” the work of Beaton.

Interestingly, some of the most treasured of portraits of the Indian Maharanis and Maharajas too form part of his photographic repertoire. The most famed of them being that of Maharani Gayatri Devi of Jaipur who can safely be called one of his favourite muses. The princess of Cooch Behar was the third wife of Maharaja Sawai Man Singh of Jaipur. Like her mother Indira Raje, who was the princess of Baroda, Gayatri Devi immortalised the imagery of the chiffon clad, pearl adorned Indian Maharani while capturing her in many frames was Beaton.

The other of the photographer’s favourite muse was Princess Karam or Sita Devi of Kapurthala, daughter of Raja Uday Raj Singh of Kashipur. She married Karamjit Singh, the younger son of Maharaja Jagatjit Singh of Kapurthala. Sita Devi was one of the most iconic of Indian Queens who was written in society columns constantly. She was a muse for several photographers from Cecil Beaton to Man Ray. Her preferred couturier was Mainbocher who designed the wedding dress for Wallis Simpson’s nuptials with the Duke of Windsor. Sita Devi wore chiffon saris and fur coats designed by Mainbocher.

When she was 19 years old, Vogue Magazine anointed her the latest “secular goddess”. Three years later, Look named her one of the five best-dressed women on Earth. The couturier Elsa Schiaparelli was so dazzled by Sita Devi that the gowns of the designer’s 1935 collection were constructed like Indian saris. In early 1939, at Lady Mendl’s tea in honour of the Hollywood dietitian Dr Gayelord Hauser, Sita Devi was listed among the twelve most glamorous women in the world. She was the grandmother of contemporary jewellery designer Kanwar Shri Hanut Singh

Dürrüsehvar Sultan, married to Nizam Azam Jah of Hyderabad, was possibly one of Beaton’s most intriguing of frames. Born at the Camlica Palace in an era when the Caliphate was passing through its last phase, she married Azam Jah at a fairy tale wedding in Nice and lived an equally illustrious life thereafter.

While these three gutsy Indian queens immortalise Beaton’s work in India, he also allowed his camera to capture Indian performing artists like Ram Gopal, politicians, and its people.

GHOOMAR: RAJASTHAN’S ELEGANT DANCE FORM

December 5, 2023, 1:59 am

Simply put, art is an expression of feelings. Dance, as an art form finds its expression of feelings in various moves, postures and expressions. India’s various regional dance art forms are not only baffling in their diversity, but also carry unique charms of their own. There are subtle yet powerful ways in which a dance form reveals the traditions, culture and geographical conditions of their place of origin. Be it the costumes worn, or the bodily forms used to depict the dance, each one is a powerful mediator in itself. Alas, so much gets communicated through deftly crafted forms of non-verbal communication, which have found ways of surviving centuries of intense change and modernisation. Similarly, Ghoomar is one such local dance that originated in Rajasthan, and continues to enchant both, the modern-day dancer and her audience in the same aesthetic and sway. The term Ghoomar can simply be translated into a twirling movement with the swirling of lehengas (long, flared skirts that are adorned as a part of the traditional poshaak dress). The greater the number of flairs (or gheras), the more the swirling movement. The delicate movements of the hands, the tapping of the foot and the exquisite façade caused by the swirling makes Ghoomar a highly elegant and visually soothing dance. Ghungroos worn at the feet of the dancers infuses a magical percussion as per her rhythmic transcendence. Its versatility lies in Ghoomar welcoming solo, duet and larger group renditions. Traditional norms call for women to put on their ghoonghat or veil while performing the dance at their in-laws’ place. Pre-recorded music continues to be a rare aide to art of Ghoomar. Live folk music sung by musicians of ancestral mastery accompany the dancer. Musical instruments, primarily the dhol, plays an important role and its centrality can be observed in its veneration at the beginning of any traditional wedding as a sign of respect. Beats of the dhol embody the spirit of celebration, and thus, upon the completion of wedding rituals and celebrations, the folk musicians are thanked and showered with gifts.

Even though most of the folk singers and musicians are men, Ghoomar is strictly performed within the confines of the zenana or women’s wing. That said, the sanctified privacy of Ghoomar did not limit its integral role in Marwar’s celebrations. Quite the contrary. Old records of Marwar state at the Maharaja Man Singh Pustak Prakash and Research Centre, Mehrangarh Fort at Jodhpur mention the primacy of Ghoomar in royal functions, festivals, weddings and celebrations alike. And till date, the tradition stands.

One very special ritual around Ghoomar is its performance by the bride as a part of her first dance at her in-law’s place. The symbolism behind this is that the bride is equated in status with the Goddess Lakshmi and her dance is believed to herald prosperity into her in-laws’ house.

Not very long ago, in 2013, an online travel advisory survey ranked Ghoomar the 4th amongst the world’s top 10 local dances. With the Hawaiian Hula topping the list, Ghoomar was the only Indian folk dance to stand amongst the first ten.

Its more global prominence aside, Ghoomar continues to reign over Rajput hearts as the most iconic, graceful and divine dance form. Kalpana Champawat is the head of the Women Cell of ITACH’s Jodhpur chapter and takes care of the media and PR at the Mehrangarh Museum Trust. She has organized exclusive heritage walks and workshops related to Marwar’s art, crafts and culture in Jodhpur and works closely with His Highness Maharaja Gaj Singhji II and his family. She is based out of Jodhpur, Rajasthan.

The delicate movements of the hands, the tapping of the foot and the exquisite façade caused by the swirling make Ghoomar a highly elegant and visually soothing dance.

DILKUSHAN BAGH: A FABLE COMES ALIVE

December 24, 2021, 2:47 am

Under a majestic hillock of the Aravalli range, in the verdant village of Tikli came alive a forum that is much needed in this fast degenerating world where all that is worth conserving is slowly eroding away. Titled The Forum for the Natural & Cultural Heritage of India, it was formally launched at Dilkushan Bagh, a sumptuous estate on the edge of the jungle in the presence of its chief patron Raja Randhir Singh of Patiala, Chairman Asian Olympic Association.

Dilkushan Bagh.

Saransh Mishra with Kumar Kant.

House of Patiala.

Vusat Iqbal Khan, Raja Randhir Singh, and Begum Iqbal Khan.

Jasbir Jassi.

A not for profit forum founded by the gentle soldier Kumar Karun Kant, born and brought up in Patiala and a strong part of the city’s royal lineage, it hopes to become a quiet catalyst of change. “I wanted to offer the city of Djinns, Delhi and its people a place where they could relive history in all its splendor. Record the words, thoughts and voice of modern day heroes, have historians and art aficionados share valuable nuggets from the past. Where animal lovers and eco warriors could discuss issues related to the environment. All this while they enjoyed the best cuisine refined living can offer within our home where melodious voices could resonate in total harmony with the world around.”

Kumar, as he is known to the cultural milieu of Punjab, came to Delhi to practice his profession as an arbitrator. His father, a noble, insisted that he could leave the city of Patiala but not his home. Hence the son simply uprooted his home in Punjab and brought its lock, stock, and barrel to New Delhi, deciding to live within the village of Tikli, which is one of the few pristine leopard sanctuaries still remaining on the fringe of India’s capital. He shares, “I transported every carved wooden door, every arch ,each and every piece of furniture that was made by my family many generations ago, restoring it and placing it inside the estate. Even the architecture of the home was a carbon copy.” Spread over 16 acres with most of it still left a pristine forest, Dilkushan Bagh quietly emerged as a heaven for filming and photography. The idea to turn it into a heritage space came from Randhir Singhborn into the Patiala family that is known for its love for music, its pledge to heritage.

“Few years ago, Raja Sahib, standing in this very garden expressed a need to create a forum for Music and Nature lovers. No one knows more than him that in India, nature, forests, music, sensuality, food, spirituality all blend as a singular instinct for life. Today marks the beginning of that journey.” Kumar also invited his childhood hero, the globally acclaimed conservationist, Maharaj Kumar Dr Ranjitsinh Jee, Wankaner on the advisory board, along with Pushpesh Pant to advise on conservation fo cuisine cultures. He feels the space is now ready for experts to call their own and use it as a conservatory for refined research. “India is rich with brilliant souls whom I want to invite to my home to research, record, share and archive Indian Natural and Cultural Heritage. Culture is what we carry in our souls. It cannot be defined by otherness or isms but by what is eternal and or instinctive within us. These elders are great storytellers because they have lived great lives and because they cared. I hope we are able to inform and inspire the coming generations.”

For the launch Kumar hosted a classical music session by Jawad Ali Khan Sahib celebrating the rich legacy of the Patiala Gharana as Ustaad Sajan Mishra, his son Saransh Mishra of Benaras Gharana and famous Punjabi singer, Jasbir Jassi sang impromptu to an enthralled audience. This was followed by a fashion show by Saurabh—Rajeshweri from The House Of Patiala. On this occasion, Raja Randhir Singh released a song sung by Vusat Iqbal Khan in memory of her father, the Late Ustaad Iqbal Ahmed Khan Sahib, the khalifa of the Delhi.

SIX-DAY TREKKING ADVENTURE TO THE SOURCE OF THE GANGA

December 17, 2021, 4:40 am

DAY 1

A morning flight from Delhi brought us to Dehradun, where we met up with some of the groups that have also travelled on this flight. It was a very short flight and as we exited the airport, we are happy to see that there were very strict protocols that we had to pass through before we could leave. We had a long drive ahead of us and were soon off, on the road to Harsil, which was to be our night stop.

On the route, heading back to Gangotri.

Campsite at Bhojbasa.

Visual of the Snow covered Sudarshan Parbat.

We could now see the wonderful visual of the spectacularly large Tehri Dam laid out between the hills around. The waters of the dam had spread out among the hills and lay between them and seemed as if it formed a gigantic lake. Next, we came to Nagun, where we had to report at a Police check post to show our certificates. We pass Maneri, which had a huge hydroelectric power project. After a final push, we reached our Hotel Prakruthi and were relieved to get out of the van and stretch our legs.

DAY 2

Trek Day 1

Drive to Gangotri 1 hour - Trek to Chirbasa

Altitude: 3580m/ 11745ft

Distance: 11.4 Km

Time taken: 6 hours

A beautiful morning and as we looked out of our windows, we saw the beautiful Bhagirathi River, very fast-flowing but not in spate. Above us were the mountains with the rays of the morning sun touching them. Good breakfast and we were into our vans, driving to Gangotri, a beautiful drive through the mountains. This is one of the Char Dhams, we spent a half-hour wandering about the temple area and after darshan at this beautiful little temple of Mother Ganga we were good to go.

On the opposite skyline, was the snow-covered peak of Mount Sudarshan, rising up white above the nearer mountains that are green, covered with trees. The River Bhagirathi flowed alongside the bank, with the temple facing east. We headed out of the temple complex and began climbing a long flight of steep steps that lead us to the path. Once on the path, we spread out and began climbing up following Kailash, who was heading the pack. We are soon at the entry point into the Gangotri National Park and our team leaders needed to stop in at this check post, to show papers and get clearances for the group to head out. A photo-op here with the Sudarshan mountain still forming the background.

DAY 3

Trek Day 2

Chirbasa to Bhojbasa

Altitude: 3,740 m/ 12,270 ft

Distance: 5 km

Time: 2-3 hours

A 6 am start for everyone and the breakfast tables were laid out in the midst of the pretty grove of trees. Tea to start the morning and a great healthy breakfast to follow; porridge with nuts, papaya, omelettes with toast—we ate it all, as we needed to fuel up for today’s trek to Bhojbasa, a distance of about 5 km that we have to cover.

We left the wooded area, climbed the steep winding path up to the check post and turned right and headed out on the path, leading away from the Chirbasa campsite. We were soon high above the Bhagirathi River, and we realized the entire trek today would be alongside the river. The sound of the river is rather muted now in this area.

To the left of us were mountains, and to the right, an astounding sight of tall snow-covered mountains, and their peaks. In front we had the majestic, snow-covered Mount Sudarshan and down below was the Bhagirathi River tumbling over rocks as it flowed down the mountain towards Gangotri. We could hear the gentle roar of the river that would stay with us all day. There were areas where the path had moved further away from the River, and then it became a muted sound.

DAY 4

Trek Day 3

Bhojbasa to Tapovan

Altitude: 4,400 m/ 14,566 ft

Distance: 6 km

Time: 5-6 hours

We set off after breakfast and then discovered that we had a long wait to get a turn with the unending line of trekkers and others trying to get across the river. Finally, we were all across the river and on the other bank and we headed out on the path following our guides.

There were very slippery areas that we had to use our poles to get us through, and then a narrow gap between giant rocks that we had to edge our way through. It was cold outside and had begun to snow as well. Our porters carrying all our tents were nowhere to be found, as they had not reached up the mountain yet. There was a bit of a dilemma as to where 24 of us would go in this extremely cold and windy place.

DAY 5

Trek Day 4

Tapovan to Meru Glacier

Altitude: 4,800 m/ 15748 ft

Distance: 2.9 km

Time: 2 hours

We woke up to a bright sunny day and it was very cold out there. We were happy to see our camp getting set up. It was on the beautiful meadow way below us and it was a welcoming sight. Tea was brought up to us and after that, we headed down to the campsite, where the red sleeping tents were almost ready and the toilet tents had been set in a straight line, a short distance away.

The visuals around us were almost overwhelming as we were surrounded by the most magnificent mountains of that region. The three Bhaghirathis, Mount Meru and the magnificent Mount Shivling. The early morning rays of the sun touched the top of Shivling first, bathing the peak in a golden light. It is heart-stopping and stunning and we saw this and it silenced us. Mount Meru’s distinctive ‘shark fin’ is also clearly visible to us. We were at an altitude of over 4800m in that desolate meadow that seemed to stretch out forever before us. As we looked around at these beautiful visuals, we realized that right there before us were the very reasons why we trek in mountains around the world. It was a humbling feeling

At the Ridge above the Meru Glacier

The climb down was equally tough but seemed much quicker. As we climb down, we were suddenly through the rough, stony path and were headed down a gentler slope and then finally we are out on the meadow. As we walked towards the camp it was hard not to be overwhelmed by the mountains surrounding us on all sides. It was humbling to be in the midst of these awe-inspiring mountains and we realized how insignificant we really were.

DAY 6

Trek day 5

Tapovan to Gaumukh to Bhojbasa

Distance: 6.6 km

Altitude: 3740m/ 12270ft

Time: 5 hours

A bitterly cold night had all of us shivering in our sleeping bags and tents as the night temperatures would have been well below zero. When we woke up in the morning our tents were totally frozen. There was frost on the ground and it covered our tents as well, in white, powdery flakes, that fell, even inside as we unzipped our tents in the morning for the first time!

Surrounded by mountains on all sides, with the three Bhagirathis, creating a background for our walk down to the Bhojwassa crossing. It was a short climb again and we reached our lunch spot among the rocks, where we had stopped a couple of days earlier. There were tall lavender fringed stems in the middle of all these bushes that are maroon, yellow and shades of green. It was as they say a vista to behold!

DAY 7

Trek Day 6

Bhojbasa to Gangotri

Drive: Gangotri to Dharali

Distance: 11 km

Altitude: 3415m / 11204ft

Time: 6 hours

This beautiful trail hugged the side of the mountain and it was the very same path that we had hiked on five days ago. We could see it following the edge of the mountain taking the curves as it went along. The Bhagirathi River had been a continuous presence throughout our trek every day, and we saw it down below us, tumbling over the rocks as it made its way down the mountains. We could hear the roar of the water echoing up through the silence all around us. Often, we found the need to stop and just look around at the beauty all around us.

The challenges that we face every day, while walking and climbing are so satisfying, as the terrain is rough, altitudes are high and the paths are sometimes fraught with danger. There is a feeling of immense satisfaction at the end of every trek.

MAHANAARYAMAN: THE NEW SCINDIA SCION

December 5, 2023, 1:59 am

As his illustrious dynasty’s gen-next scion, Mahanaaryaman Scindia needs little or no introduction. He is preceded by centuries of Maratha glory the unparalleled political legacies of familial icons such as late H.H. Maharaja Jiwajirao Scindia, H.H. Rajmata Vijaya Raje Scindia and their trailblazing progeny. Mahanaaryaman’s paternal grandfather, late H.H. Maharaja Madhavrao Scindia was just about his age when contested and won his first election from Guna. From then on until his untimely demise in 2001, he proudly served as a member of the Lok Sabha for nine terms and never lost an election. Thereafter, Mahanaaryaman’s father, H.H. Maharaja Jyotiraditya Scindia has continued to become an eminent statesman, political and leader of the masses. At present, he is a member of the Rajya Sabha and serves as the Union Minister of Civil Aviation under Modi’s regime.

Evidently, these are enormous shoes to fill for a budding youth in his 20’s. Or so I thought until I drove past Gwalior’s busy streets this November to find prominent banners affectionately put up by his doting people to express their wishes on Mahanaaryaman’s birthday. Donning the Indian kurta pyjama, Aayaman is seen waving back on printed flex boards with an uncanny resemblance to his grandfather. An alumnus of the Doon School and Yale graduate, Mahanaaryaman has immersed himself in many meaningful ventures with Softbank Group and Christie’s, Bhutan’s Gross National Happiness Commission. Following his forefathers’ footsteps, he has interned under veteran politician Arun Jaitley, has counted as a key component to some of his father’s political campaigns and developmental activities.

He is also a board member at the Scindia School, Gwalior. Post graduating he worked at Boston Consulting Group in Mumbai and gained corporate exposure working on cases with companies such as SBI, Jindal Steel Works and Tata Motors.

More recently, he has made a notable presence as a curator of immersive journeys. Having had founded Undersounds Entertainment, Mahanaaryaman has helped put together and host numerous events at heritage locations in association with Cercle, Cymbal Rotations and Oscillate. His newest venture, titled Pravaas is due to unfurl its first edition in Jai Vilas Palace, Gwalior on the 18th of this month.

In other words, not only is Mahanaaryaman filling into the Scindia shoes, but is also crafting his own legacy as a new-age curator and entrepreneur. In a virtual conversation with Rajputana Collective, the newest generation Scindia introduces us to the truly inventive and futuristic concept of Pravaas, which is also deeply reflective of Mahanaaryaman’s rich sensibility of age-old heritage and values of its preservation.

Q. In recent times, India has witnessed several music events gain rising popularity. Be it Magnetic Fields, RIFF, WSSF, Ziro, Sula fest, NH7 chapters or others, each of these is embraced by a buzzing counterculture of its own. What caused the creation of Pravaas?

A.In the last few months, we have seen many changes in peoples tastes, preferences and travel destinations. There has been a huge surge in domestic travel. Like me - many want to travel within India and discover unique destinations that they haven’t heard of or been to in a more experiential way.

Pravaas essentially means journey in Marathi and through this brand, we hope to take our audience on an immersive journey like-no-other. Each Pravaas Edition is designed using three key pillars—Bespoke Novelty, Unparalleled Nativity & Once-In-A-Lifetime. Every event element is handcrafted, each experience is infused with the nativity of the region through R&D trips & the overall event is never repeated. Through Pravaas we hope to create a community of like-minded explorers of novelty.

Q. What specific audience pockets do you envision to draw together through Pravaas?

A. We term our audience as ‘Explorers of Novelty’ which includes creatives, travel seekers, food enthusiasts and a lot more.

Q. At a first glance, Pravaas resembles Cymbal Rotations in many respects. Both fall under the Gig Hub Club banner, both curate a multi-concert escapade for a limited audience in a distant heritage location. Would you call Cymbal Rotations an inspiration behind your own idea? If not, is there a particular global event that inspired you?

A. Cymbal Rotations & Pravaas are connected but also entirely different. They’re connected because they both aim to take audiences to places they’ve never been before. However, Cymbal Rotations is more music-focused and is based on the ethos of exploration of India through the lens of music. It will also remain a slightly higher-capacity event of up to 300 people as compared to Pravaas.

Pravaas is a very intimate curation of multi-sensory experiences with a highlight on food, supplemented by music, art, heritage and culture. For Pravaas, there is a lot of research that goes into the native region of the event location. All experiences are curated & created to help audiences discover nativity like never before. Pravaas is a shared vision between ourselves and Masque – a vision to dig into the roots of India and present it as a shared DNA.

However, Pravaas, mentions circling around not just music, but also food and art.

Q. What is a pop-up ten-course? Will it centre around a specific cuisine?

A.The pop-up 10-course meal that we will be presenting will be a one-time menu that will not be featured again. It will be designed by Chef Prateek Sadhu and his team from Masque exclusively for Pravaas through his experiences during our R&D trips where we taste different types of food from the location we have chosen.

For this edition, we will be focusing on street food, tribal cuisine (from the Gwalior-Chambal region), and recipes from the royal kitchen in Gwalior (Maratha-Nepali cuisine).

Q. What kinds of art displays is Pravaas curating?

A.The displays take place at the HH Maharaja Sir Jiwaji Rao Scindia Museum. That itself is the first time a museum has collaborated with music, art, and food immersive experiences. Art & heritage curations can be found at The Baraamda, The Aaina Hall and the Safarnaama-E-Alijah experiences, or as we call them—Journeys at the event.

The Baraamda is a corridor leading to the Masque pop-up restaurant and has been filled up with 25+ legendary objects. Each one will be QR coded that can be scanned to lead up to a landing page for more information on that piece. All pieces are brought into the corridor from the museum itself.

The Aaina Hall features a mirrored silver bar that has been brought up especially for the event. This will be used to serve Blue Label. The Aaina hall also features a vintage bar serving Stranger & Sons bespoke cocktails created just for Pravaas. The entire hall has been adorned with mirrors belonging to the royal family’s museum along with many other artefacts and pieces of furniture.

Q. Unlike many of its national counterparts, the heritage city of Gwalior is yet to be optimised as a prime cultural destination. As a younger generation Scindia, how would you like to lead your city into the future? Furthermore, how would events such as Pravaas help further that?

A. Gwalior is definitely one of the hidden gems that are yet to be uncovered. Over the last 10 years, I myself hardly spent any time in the region as I was in boarding school and then went to the states for college.

Just before the Covid-19 pandemic, I started spending a lot more time in the city and started rediscovering it for myself and really understood how much it has to offer whether its—history, art, music or nature. The city can offer it all. I have therefore been speaking to a lot of the youth in the city and urging them to do the same and be proud of where they come from along with keeping the city clean. I think when that happens, and we start inviting friends, family etc and take them through the city through our eyes tourism will definitely be boosted. I am also working on events like Pravaas or bringing in other companies to do events that involve all stakeholders—artisans (making crockery, installations etc.), local restaurants, musicians and startups so that they started understanding the value of tourism and work towards promoting it themselves.

Q. Lastly, since the world stands at the brink of the pandemic’s mutation, what safety measures would you prescribe as a prerequisite for all those attending Pravaas?

A. Firstly, we require all guests to provide PCR tests that are taken no more than 48 hours prior to the event or submit a double vaccination certificate. Secondly, as I said the event is much smaller so people feel safer since we have only 150 guests and in certain locations, we might have even fewer numbers. Lastly, we require everyone to wear their masks except when they are dining.

CAPTURING COLOURS OF LIFE WITH PAKKE RANG

December 10, 2021, 2:06 am

Royal scions are the finest legacy keepers. For, in their veins runs not just blood, thick and red, but also generations of rich history that captures every colour of life. Be it bright or subdued, sad or exuberant, exciting or plebian.

Mukaish with hand painting.

Chiffon sari.

Sunita Singh.

Floral sari.

Bold florals.

Rani Sandhya Singh.

Handpainted dress.

AUTOMOTIVE ART WITH BAISA VIDITA SINGH OF BARWANI

December 5, 2023, 1:59 am

Hailing from a family of some of the country’s leading vintage car connoisseurs, Baisa Vidita Singh of Barwani is a talented automotive artist with a signature collection of her own. Over the years, her spectacular paintings, which she terms as automotive art, have been exhibited alongside prestigious car rallies such as the Cartier Concours d’Elegance in Hyderabad and the Pebble Beach Concours in California. She is also a patron member at the Royal Fables exposition by Anshu Khanna. Baisa Vidita Singh’s distinct style includes painting reflections of cars, car parts as seen on the chrome and painted surfaces of automobiles, as well as their mirrors. The shift of perspective as offered by her unique eye makes her work all the more endearing, as it makes it difficult for the viewer to walk by a painting without giving it another look.

Rajputana Collective is honoured to have conducted a Q&A session with the highly talented artist and to have gained some of her insights into her art inspiration as well as the finer nuances of her imaginative work. Excerpts:

Q. Hailing from one of the most passionate vintage car curators of the country, please discuss how your father’s passion conditioned your childhood and understanding of vintage cars?

A. I have grown up with vintage and classic cars all around me, not only was I surrounded by real cars, model cars and loads of books on cars, even the dinner table conversations were about cars. My grandfather‘s, uncle’s and father’s passion for cars and their aesthetic sense has truly conditioned me as the artist I am today. My father’s passion for automotive restoration as well as his hard work has taught me that there are no shortcuts to success and quality. For our family automobiles, we owned are like part of our family and are living entities. So when I paint, firstly I enjoy my subject and understand it as a living entity that has emotions attached which I try and bring across in my artwork.

Q. What made you take up the profession of vintage automobile art? What are some of the specialisations in your art form/style that set it apart from the rest?

A. I believe that it’s my father’s passion for vintage automobiles that rubbed on to me that made me take up being a professional automotive artist. He saw the potential in me and encouraged me. My aesthetic sense and the effort to bring the soul of each of these beautiful cars on my canvas and the understanding of the special relation of these cars with their owners in the past is the specialisation that sets my style apart.

Q. Briefly discuss your most notable art project/collaboration to date?

A. My most notable works were a series of oil paintings that were titled Roll’s Royce encounters. These paintings portrayed what an exotic luxurious car like a Rolls Royce would face on its travels in its hay-days.

Q. How do you plan on impacting the world of vintage automobile culture with your artwork? Is there any streamlined vision that you have in mind?

A. My artworks are making an impact in the world of vintage automobiles as I have been trying my best to portray them as works of art and it has been recognised internationally. My vision to keep innovating new styles and melding the aesthetics of my culture to that of the automotive world will hopefully help in preserving the vintage car culture.

Q. Which is one international model that you look up to when it comes to the promotion of vintage car heritage?

A. Mercedes is doing a wonderful job

Q. What are some of the challenges that the Indian elite currently faces in the enhancement of vintage car curation as a hobby/passion?

A. There are no proper laws governing vintage cars and this is going to curb the hobby.

Q. Lastly, what is your vision vis-a-vis the future of vintage car automobiles art in India? How do you plan on partaking in this?

A. I hope that my art can encourage the young generation to preserve our heritage of vintage cars. By promoting and exhibiting my art internationally I hope to bring the attention of the car community around the world to appreciate the wonderful and exotic car collections in India.

Trivia

Your most prized automobile: Ford Thunderbird, my father’s gift

Your dream vehicle: Dusenberg

India’s finest vintage car restorer as per your views: My father Maharana Manvendra Singh

Your dream restoration project: Presently, it’s restoring my late uncle’s Cadillac

Your favourite vintage car makers: Cadillacs and Bentleys. Can’t choose between them

HANDCRAFTED AND HERITAGE DRIVEN: THIS LABEL FROM THE HOUSE OF PATIALA RECREATES GRANDEUR OF REGAL PUNJAB

December 3, 2021, 2:12 am

Two childhood friends, one common mission: Of keeping Patiala’s hand-craft legacy alive. Designer Saurabh Aggarwal and much-celebrated trap shooter Rajeshwari Kumari recently got together to present the look of the Patiala bride. Traditionally dressed in the finest hand-embroidered ensemble that is finished with the customary draping of a bagh or phulkari odhna. They launched their namesake couture label, Saurab-Rajeshwari, crafting a true blue legacy driven brand based out of Punjab with global imprints online.

Inayatinder Kaur.

Sehar Inder Kaur.

Rajeshwari Kumari.

Whilst Saurab, born and brought up in the pristine city of Patiala started his journey with bridal couture in 2012, acclaimed shooting champion Rajeshwari Kumari finds the need to keep her family’s legacy alive. Together they present to legacy lovers a very refreshing collection of bridal wear.

Saurab has worked with craftsmen and artisans all over the country to highlight indigenous tilla and zardozi work. He is currently focused on reviving the traditional art of phulkari, native to Punjab. Rajeshwari meanwhile is inspired by the elegant women of her family who for years have not just expressed their feminine side through the craft of Bagh and phulkari but also nurtured women from their surrounding villages who practice this craft as a means of livelihood. The daughter of Raja Randhir Singh, Acting President, Olympic Council of India, Rajeshwari wears both the hats of fashion revivalist and sportswoman with equal élan.

“Born in the culturally rich city of Patiala I felt our regal legacy, our history of craft patronage needed to be kept alive and hence I joined hands with Saurab who has a trained eye in fashion,” shares Rajeshwari. Adds Saurab, ”Couture and design is in my blood And Punjab’s rich craft heritage my pride. Nothing is more elegant than a Punjabi bride draped in her phulkari odhna. This is the tradition that I want to keep alive.”

Launching with a very ethereal collection of bridals crafted by hand in the most luscious of pastels and worn with the phulkari dupatta, the label now focuses on a stunning Bagh collection. Modelled to perfection by Captain Amarinder Singh’s two beautiful granddaughters, Sehar Inder Kaur and Inayat Inder Kaur, besides other young daughters of erstwhile noble families of Punjab and Himachal. As the sportswoman turned designer Rajeshwari, who is the best muse to her creations, feels, “No one can do better justice to this look than my cousins who have grown up wearing these traditional clothes.”

Phulkari is threadwork that uses linear stitches to create intricate flower-like patterns. The finished work is known as bagh (or garden) and worn by women in Punjab during marriages and festivals. Women embroidered on khaddar (coarse cotton) on the wrong side of the fabric using silken threads called pat da dhaga. In Bagh (meaning garden) style, the entire surface is embroidered. By using the darning stitch (horizontal, vertical and diagonal), numerous designs are made.

A revered canvas of expression for years for women of Punjab, phulkari and Bagh when coupled with the couture labels impeccably finished bridal ensemble gain a new, rich meaning. It is like the finest of both worlds: luxury couture and handcraft heritage coming together.

SIX AVID VINTAGE CAR COLLECTORS LAUNCH INDIA’S FIRST AUCTION HOUSE HISTORIC AUCTIONS

December 5, 2023, 1:59 am

“The love for cars is closely linked to always keeping the child in you alive. I recall playing inside my father’s Isotta that would be parked outside our fort in Kotwara,” says Raja Muzaffar Ali of Kotwara. Walking us through his automobile art exhibition, he well defines the junoon with which six avid vintage car collectors have got together to launch India’s first auction house that will be dedicated to the world of wheels Historic Auctions Private Ltd., India’s first specialist automobile and automotive fine arts auction house, founded by renowned collectors, connoisseurs and automotive historians of international repute came alive this week with a silent auction of collectable cars and Muzaffar Ali’s art at Camera Museo. The quaintness of the museum adds to the occasion.

Rana Manvender Singh Barwani, Madan Mohan, Muzaffar Ali Kotwara, Avijit Singh Badnore, Amal Tanna, Sidhraj Singh, Diljeet Titus.

Gul Panag.

Rana Manvendra Singh Barwani, Emmanuel Lenain with his wife Géraldine Lenain.

Aman Nath, Diljeet Titus.

Diljeet Titus, Muzaffar Ali.

MK Ranjitsinh Jhala, HH Maharaja Gaj Singh Ji, Maharajkumari Kalpana Kumari.

Madan Mohan.

Yuvraj Lakshya Raj Mewar and VP Singh Badnore.

Yadhuveer Singh Bera, Chandni Kumari, Maneesh Baheti.

Vintage cars and the Maharaja era are closely linked together. It were the Indian maharajas who imported for themselves the rarest of cars, fitting them with the finest of accessories and upholstery. Many a jenana cars that were often Rolls Royce had their windows covered with a curtain in soft velvet and embellished with gold. Meanwhile, the car for the Maharaja often had an LV picnic trunk tucked away for shikaars or a tiny cigar case to indulge the maharaja in his travels.

With HH Maharaja Gaj Singhji of Jodhpur inaugurating the show, the exhibition was a coming together of 15 paintings that had the signature stamp of Muzaffar’s near ethereal abstractions juxtaposed with the beauty of classic cars like the Minerva, Isotta Fraschini, the Stutz that he painted from the annals of his memory. On view were also 18 select, collectable cars with pre-sale estimates varying from 2.5 lakh to 1.8 crore including a 1959 Cadillac Sedan de Ville, a Toyota FJ40 Land Cruiser and a Fiat 500. With a 1981 model Mercedes Benz 200 getting auctioned in aid of the CKS Foundation. An army Mahindra & Mahindra CJ-3B army utility vehicle (jeep) project will also be auctioned, with a part of the proceeds going towards Army Veterans welfare groups.

Helmed by HH Maharaja Manvendra Singh Barwani, author, historian, recipient of the prestigious Pebble Beach Lorin Tryon Trophy in 2018 and legendary restorer who is globally acclaimed for his work in this world, the auction house has Diljeet Titus (Founder Titus Museum) as its advisor. “The collector car hobby is growing in India. First timer enthusiasts don’t have trustworthy and transparent access to sales and after-sales services, guidance and mentors. The Vintage and Classic Car hobby needs to move into an organized sector. With Historic Auctions, we hope to take the first steps towards that,” shares Titus. Forums like Pebble Beach, Cartier De Concourse etc Manvendra feels are important but “it’s equally important for Indian collectors to have a forum that celebrates the world of automobiles.”

The opening night saw veterans collectors like former Governor Punjab, V. P. Singh Badnore, Yuvraaj Lakshyaraaj Singh Mewer, Gul Panag, Ragini Sanghi, Madan Mohan, K. T. S. Tulsi grace the occasion along with Amitabh Kant, Ambassador of France to India Emmanuel Lenain, Maharaj Kumari Kalpana and Maharaj Kumar Ranjeet Sinh Wankaner, RK Chandni Kumari, and Shivani Rana Nepal amongst others.

SIDDHARTH DASPAN TURNS HIS FAMILY HOME INTO A HAVEN FOR CULTURAL CONNOISSEURS

November 26, 2021, 2:31 am

Every once in a while there are nights that make you fall in love with a city. At Daspan House Jodhpur, such nights seem to come one after the other courtesy of the Soapbox Initiative — a series of artistic collaborations discerningly curated by its young and ever-so-gracious owner Thakur Siddharth Singh of Daspan along with his childhood friend Varun Jalan.

Sufi Rang at Daspan House.

Daspan House

Siddharth Daspan and Varun Jalan with the performing artists.

Siddharth Daspan.

“Soapbox was conceived with a vision to celebrate diverse ethnicities, cultures and performing arts under the unifying umbrella of great hospitality,” says Siddharth, an alumnus of the prestigious Mayo College Ajmer and Istituto Marangoni Milan. “The aim of this initiative is to offer our patrons a chance to discover and appreciate extraordinary music, timeless traditions, and eclectic cuisine against the quaint backdrop of a century-old family home recently restored into a vibrant heritage hotel.”

Masked behind a discreet façade in a quiet residential area, Daspan House, with its symbolic long-standing palm tree, is like the proverbial oasis of peace and tranquillity. Whether it’s the intricately carved sandstone structure shimmering breathtakingly under the desert sun, the soothing sound of the marble fountain gently reverberating in the courtyard or the exquisite taste of culture-soaked cuisine accompanied by choicest home-grown liquor, Daspan House is a destination that satiates all five senses to perfection.

Besides its elegant design sensibility and personalised detail to attention, what gives further impetus to this marvellous destination is its ever-growing culture quotient with the Soapbox Initiative. From hosting an artist residency program to inviting a celebrated guest to take over the bar for an evening to partnering with diverse performing artists, Siddharth believes in brewing something new every few days.

“With an aim to push the boundaries of what typically constitutes the music genre in our city, we recently planned a unique event to appeal both to the ears and feet of our patrons,” smiles Siddharth. Jazzing up the music scene of Jodhpur, Daspan House hosted an experimental celebration of new age jazz with the brilliant Vashita Ramesh aka Huyana. Thrilled with the response of the attendees, he says, “The jazz night was a shot in the dark, but an increased curiosity about this genre since our event endorses my belief that it perfectly reflected the spirit of cultural exchange.”

Nothing spells cultural camaraderie better than food. The idea to promote regional cuisine in a non-restaurant like ambience led to Soapbox Tastemakers where one long community table is set up on a chosen evening, and one home chef is invited to cook up their specialities which the guests can relish in family-style sharing portions in the cosily lit gardens of Daspan House. The first home cook in this series was Kunwarani Lakshmi Kumari from the house of Hariadana whose love for cooking and feeding was confined to her social circle all these years. For the first time, people from her city and travellers from beyond got the opportunity to savour her specialities like slow-cooked mutton bootha, buttermilk fried chicken, baingan bharta ka raita and rasgulla ki kheer among other delicacies. “The idea is to enable our guests to savour the taste and soak in the legacy of the cuisine,” says Varun, Head of Guest Experience at Daspan House. “We have created this event in a way where the tastemakers not only cook but also play host to a party of guests and regale them with stories of their family’s culinary traditions.”

While each event under the Soapbox Initiative has earned rave reviews, the occasion I attended was an evening filled with Sufi ragas, poetry and nostalgia about a month ago, featuring a talented repertoire of artists from Marwar. Sufi Rang by Govind Singh Bhati and Co. was one of those rare events where the performers enjoyed performing as much as the audience enjoyed listening to them. Seeing the artists lose themselves in their performances and sing purely as people who love their art was such a rewarding experience.

Sufism is never defined by boundaries. The way the music of the mystics transcends across forms, Siddharth’s Soapbox Initiative brings together an unusual assortment of patrons from all walks of life. While attending this event, I made friends with a museum curator from Mehrangarh, a political strategist from New Delhi, a history professor from Ajmer, and a lawyer from Ahmedabad all of who reiterated the Soapbox Initiative’s syncretic faith.

“Every art whether culinary or performing must grow organically in the mind and soul of the audience,” feels Siddharth.

The beauty of this collaborative culture series lies in the fact that it does not assault your senses. It paves way for you to surrender. No wonder, it has rightly earned a proud place in the city’s ever brimming social calendar.

THE CAUSE OF GIVING WITH DHANANJAI SINGH KHIMSAR

December 5, 2023, 1:59 am

Amidst the famed season of opulent weddings, festivities, and gifting, I decided to dedicate this week’s column to a special cause of giving that hits home. Possibly because, amidst all the hustle and bustle that surrounds me, I intuitively imagine a rural household far away from here. One which prepares to give away its daughter in a similar betrothal ceremony, but is devoid of the means that we are privileged with. One which struggles to provide for the basic requisites of a wedding ceremony, while in the meantime our likes are more preoccupied with smaller frivolities, like which outfit to better match with the evening’s pair of shoes.

Project Bhavishya

The Annadata Charitable Trust was founded by Dhananjai Singh, who hails from a royal family of Khimsar

Project Beera

Project Jeevandan

Project Garima

I don’t intend on sounding preachy when I would rather be celebrating the union of my cherished girlfriends with their better halves. Instead, my sense of revelry is multiplied through this act of introducing a philanthropic venture that my older sibling, Dhananjai Singh recently launched. After graduating from a Swiss Hotel School, Dhananjai returned to his ancestral home in Khimsar, where he felt an urge to help the local community. Despite numerous charitable organisations that concentrate on specific issues, he believed in a broader and more versatile scope of service. Moreover, considering the ever-increasing and multi-faceted problems encountered by people in rural India, this approach, according to him, would prove to be more feasible.

Thus, he conceived the Annadata Charitable Trust, a Khimsar-based foundation that has been impacting millions of lives through twelve projects and counting. Amongst these, Project Beera is the one project that finds immediate relevance to my opening paragraph. Titled as “Beera”, which ideally translates into a brother that can be relied upon, this project is exclusively dedicated to providing for financially disadvantaged families upon a marriage occasion. In the situation whereupon the typical financial providers of a family are deceased, the Annadata Charitable Trust steps in to contribute a minimal sum amount that helps substantiate the wedding ceremony.

This initiative is premised upon the idea that western parts of Rajasthan bear a socio-economic disadvantage in comparison to the rest of the state due to its starker landscape and harsher weather conditions. As a result of their accompanying economical limitations, a significant strength of its population struggles to make its daily ends meet. Added to that is the financial pressure wielded by sociocultural norms on the family members of prospective brides, and the brides themselves. After all, undertaking the costs of a wedding is a major live expense, thereby factoring itself into the prevalent reluctance suffered by the society towards the girl child. Added to that is the rampant prevalence of the bride’s family bearing most of the expenses, as compared to a more equal participation from the groom’s side. Such families are steeped in patriarchy, and more often than not, their male members continue to be the sole breadwinners. Such families are faced with desolation upon the death of a contributing member, or a misfortune that compromises their means to earn a livelihood, such as an amputating or handicapping accident.

In considering every person of the society as his own, founder Dhananjai Singh joins hands to reduce the gripping financial pressures of such households in rural belts of western Rajasthan. Within the past few months, his trust has helped partially sponsor over 19 weddings in the region and hopes to impact the lives of many more in the time to come.

Annadata Charitable Trust’s other projects help round its social impact goals with far-reaching objectives. Amidst the dreadful Covid-19 waves, the acute shortage of oxygen concentrators had cost many pandemic victims their lives. In this light, project Jeevandan has helped provide over fourteen oxygen concentrators to Rajasthan’s rural hospitals. Similarly, project Nivala addressed the needs of daily wage labourers, whose livelihoods and basic means to food had been placed under serious threat amidst the consecutive lockdowns. Over 14,000 food and ration packets had been distributed to help alleviate mass hunger and deprivation.

In the sphere of women and child development too, the Annadata Charitable Trust joins hands to provide for free menstrual healthcare. Project Garima in particular has helped generate the distribution of over 5000 sanitary towels and aims to spread better awareness around their safe usage. Furthermore, project Bhavishya gears itself to sponsor school kits for underprivileged children who lack basic schooling resources. It has also provided tricycles to help mobilise the specially-abled, and in the incidence of a fire hazard, provides one-time monetary support to a household of such misfortunes. Other drives include sapling plantation drives for environmental awareness, as well as the provision of water-containing canisters for households in more barren localities.

Inspired, determined and resolute, the trust’s founding figure, Dhananjai Singh intends to multiply this existing impact in the near future. “We at the Annadata Charitable Trust focus on instilling hope in the people of rural Rajasthan for a better tomorrow. We direct our goals towards active participation in various social and political programs to develop our region. When it comes to delivering effective and accountable services, we identify a genuine solution by serving at a more micro level. We intend to solve the problems in Rajasthan’s day-to-day lives who fall below the poverty line by facilitating holistic growth and aiming at their common welfare”, he concludes.

ROHIT CHAWLA’S CLASSIC ARTWORKS AND MINIATURE ART

November 19, 2021, 6:30 am

Art is his playground for visual expression, reality his source of showing a cerebral hope in the prevailing madness, power and powerful people mere creative souls that stare through his lens. Rohit Chawla, media world’s most iconic face, a leading Indian contemporary photographer is all set to present a self-curated exhibition of handpicked photographs from some of his classic series at DesignEdit, curated by him at Spin Studios, Dhanmill Complex, New Delhi. Someone who could within a gap of a month churn two covers for India Today, one with PM Modi and the other with Rahul Gandhi, with a Jeff Bezos caught in an Indian tuk-tuk in the middle. Rohit admits to being most enamoured by the world of yore. The regal, royal era of art and architecture that he uses as illusionary bastions for his expression.

The Miniature Series, Dilip Cherian

The Taj Series

Kalyani Chawla

\

Ayesha Thapar, Ravi Verma Series

Showing up in Delhi after a gap of two years (“I spent the entire pandemic safely in our home in Assagao Goa.”) the artist throws special light on his Taj series that captured the monument of love through the most striking of frames that were often set in sepia or starkly black and white tones. Royal India and the arts that lived within that era too are the subjects of his creative expression. He is known for his creative genius in re-creating classic artworks of Raja Ravi Verma and miniature art into photographs. He creates an illusion of the original painting while bringing his own unique touch. Recreating that mystical world of music, minarets, durbars and dancers, he recaptures the sheer aura of the Mughal era. Of palanquins that carried the Emporer to his Diwan-I Khas. Dance apsaras who decorated the durbar and nightingales who regaled all with their classical music Ravi Varma’s art through his lens. The men and women in the miniature series have immersed themselves in the ‘physique du role’, understanding the physical and mental sense of the roles they are playing. All of them appear to have, with great elan, slipped into the ‘King for a day’ feeling, surrounded by accessories and accouterments that are intrinsic to the nobility they portray and enjoying the lavish costumes designed by Tarun Tahiliani.

He, interestingly made modern-day muses: women like silversmith Kalyani Chawla, industrialist Ayesha Thapar, film producer Saloni Puri and Sal Tahiliani pose aka Mohini, the Raja of Travancore: Ravi Verma’s eternal muse. “Rohit Chawla creates an illusion of the original painting while bringing his own unique touch. In this combination of pixels, paper, cloth, paint and diverse decorative elements. He creates the magic that turns an old work of art into an established fact, a contemporary modern-day image, “ shares Rupika Chawla.

Presenting a creative medley of his works in a neo real setting of the Spin Store, Rohit Chawla presents photographs from some of his selected series. The beauty of the show is how the paintings are set inside real-world design settings that emulate a home.

Rohit Chawla spent close to two decades in advertising at JWT before moving out to start his own design and film production company. His solo exhibitions include Wanderlust, Tribute to Raja Ravi Verma, ‘Klimt - The Sequel,’ ‘Freeda! - The Homage,’ ‘World of Wearable Art,’ ‘Goa Style’ and ‘The Inspired frame.’ He lives and works between Delhi and Goa.

ROYAL AFFAIR AT INDRI INDIAN OPEN POLO CHAMPIONSHIP

December 5, 2023, 1:59 am

Mr Navin Jindal and team with a young lad

Mr Venod Sharm & HH Maharaja Padmanabh Singh

Players while taking shots

Rajkumari Chandni Kumari with her friends

Teams - Jindal Panther | Sahara Warriors

The unsung hero: Maharaj Madhusudan Singhji of Danta

November 12, 2021, 7:58 am

In my mother tongue, ‘Nanosa’ means grandfather. I was brought up in front of his eyes, and have been staying with him ever since. He’s seen me grow from a tiny baby into an independent young lady. Back in the day, Nanosa’s work remained restricted to a specific area. There was neither social media nor cellphones to click selfies that would go viral on the internet. Hence for me, he remains an unsung hero. Here is a little tribute to my grandfather for the work he has done, being an honest politician for his country, and a true inspiration for his people.

Maharaj Saheb Madhusudan Singhji of Danta

In the olden days Maharaj Saheb Madhusudan Singhji was very fond of shikaar

My grandfather’s name is Maharaj Saheb Madhusudan Sinhji of Danta. He was born on 31st May 1933 in the old palace of Danta. Named Maharajkumar at birth, he was the second son of the late Maharana Saheb Sri Bhawani Sinhji. He completed his schooling from Daly College, Indore, and Rosary High School, Baroda. Following this, he graduated in History and Law from Maharaja Sayaji Rao University, Baroda in the year 1958.

Upon his graduation as a scholar when Nanosa returned home in 1958, Danta’s façade had completely changed because princely states had merged with independent India. Danta was the last state to sign the merger on 16th October 1948.

Since Rajputs are known for their administration and service to their soil, Maharaj Madhusudan Sinhji decided to join politics with the intention and interest to serve the people and better their life. Thus, he made his political debut in 1962, wherein he emerged victorious in the Gram Panchayat elections and as a result, was appointed as the Sarpanch. Later, he became the Taluka Pramukh of Danta, where he constantly governed for 25 years with an uninterrupted incumbency. However, even after winning the Taluka Panchayat elections afterward, he stepped down from the post to make way for the governance of the younger generation. Under Chiman Bhai Patel’s government, he became Director of the Gujarat State Road Transport Corporation and employed the needy.

Upon becoming the director of Banas Dairy, he along with the help of Galba Bhai Nanji Bhai Patel worked in Danta Taluka and encouraged people to engage in dairy farming. This was especially directed at the tribals in a bid to prevent them from getting involved in anti-social activities. For their socio-economic upliftment, the first milk depot was set up in Danta. Today, it runs as a successful business for several small-scale farmers.

During the governance of Shankar Sinh Vaghela, he was the chairman of the House Gujarat Water Works Department (Pani Parotha). He initiated the project of supplying water from Dharoi Dam to the areas where there was a scarcity of drinking water. However, later due to political factors, the government underwent a change and the credit was passed onto someone else. Nonetheless, he remained unabashed—his motive and objective of serving people never subsided.

In the olden days, Nanosa was very fond of shikaar. However, one incident had an impact and changed his life forever. While walking unarmed through the Aravalli Range behind Gabbar, he realised that a tiger was walking towards him. He paused for a while but was perplexed in how to avoid serving the beast as its prey. Amid his mounting fear, the tiger casually strolled towards the stream and drank water as it was a hot summer evening. The majestic cat took a break to cool himself down, during which he briefly locked his gaze upon Nanosa’s before casually wandering past him. This incident left Nanosa in guilt. He couldn’t help but think that he would have shot the big cat down had he had a weapon. Perhaps that day, the wild cat had gifted him a second life, which came as a turning point for his outlook towards wildlife, making him into a devoted conservationist. Two years ago, he retired as the Banaskantha district’s wildlife warden. One of his articles titled ‘Rape Of The Forest’ has been published in the Times of India.

He departed from the palace in which he was born and lived at his farmhouse in Diwadi near Danta ever since, where Nanosa loves to call himself a farmer.

This is the story of a man who was born as a Maharaj Kumar but lived an ordinary life and won people’s hearts by his selfless deeds and work. He believes in ‘simple living, elevated thinking’. He has inculcated the same values in his children and grandchildren.

This write-up is a tribute to a grandfather from his super proud granddaughter who has inherited from him, among the many values and ideals, the love for wildlife, nature, and farming.

A ROYAL DIWALI

November 12, 2021, 7:55 am

Diwali has just ended in the Indian subcontinent, filling every home with lights, laughter and happiness. The day felt even more special because of the gloom of the pandemic that has engulfed the world and stripped us of all happiness.

For Princely India as well the year was special. Many could once again go back to their palaces and celebrate Diwali and Dasara exactly as their ancestors did.

Jashan e chiranga painting.

Royal family of Jaipur on Diwali.

Golden throne, at Mysore’s Amba Vilas Palace. Rare old Mysore photo.

Krishna celebrates Diwali.

Kishangarh painting.

Indeed, come the day to end Ravana in a euphemism and festivities light up every fort and palace of India. Starting with the fabled Dasara at Mysore state, when the palace and the entire city right up to Chamundi Hill look lit up and vibrant. Come Diwali and the various palaces of India are filled with festive fervor. This Diwali browsing through the net and reading posts from all our Royal Fables patrons I collected some fascinating tales to share tales of a regal royal Diwali.

First up Mysore and the story of the fabled golden throne that only appears from the safety vault and is placed in the rear octagonal part of Ambavilas Palace only during Dasara. First belonging to epic hero Dhamaraja Yudhishthir is said to have passed on to Kampili king Kampilaraya, who brought it to Penukonda from Hastinapura. The King had hidden the throne before being killed by Muhammed bin Tughlak in a fight. Then, saint Vidyaranya, scholar and head of Sringeri Mutt, showed the spot where the throne was buried to King Harihara I of Vijayanagara in 1338. After Harihara retrieved it, the Vijayanagar kings used it for two centuries. After the fall of the Vijayanagar empire, the throne came into the hands of Mysore kings. For some time, it was in possession of Tipu Sultan. It was recovered from Sultan’s Palace after his fall. Ever since, it is in the possession of Wadiyars’ family, according to Sivapriyananda.

Some alterations were made to the throne in 1940 and during 1945-46 under the supervision of Shilpi Siddhalinga Swami. However, its basic artistic and decorative features remained unchanged. The earlier throne was much smaller and had only five steps. The present one is much larger and has seven steps.

The throne comprises a large seat, seven steps that lead up to it and a large umbrella. The umbrella, a symbol of royal authority, is decorated with festoons of pearls and is inscribed with 24 Sanskrit verses blessing king Mummadi Krishna Raja Wadiyar. Wadiyars have always shown their subordination to the divine throne before ascending.

According to Mysore Palace Board, the throne was originally made of fig wood. Then it is said to have been decorated with ivory plaques. The throne was later bejeweled with gold and silver figurines.

From Mysore, we travel to City Palace Jaipur that is dressed like a bride every Diwali ready to receive all the nobles who live in the four walls of the old city. As the first family of Jaipur led by HH Maharaja Sawai Padmanabh Singh wears a stunning black sari in reverence to the no moon night or Amavasya, the nobles of the city throng with their offerings to wish the royal family.

The Gods too are not spared as Indian durbars through their native art show how their Lord God is celebrating Diwali on their gleaming terrace and under their sparkling roof. Like the famed painting of Kishangarh that depicts this fable to artistic perfection. On a gleaming marble terrace under an inky black sky, Radha and Krishna are being entertained by fireworks and song.

The divine couple shares a bejeweled seat and a single halo emphasises their oneness, already made obvious by the matching features of their faces: the arched eyebrow, the lotus-petal eye, the elongated nose and curving chin of Radha and Krishna are essentially the same, and are made only slightly thinner or thicker to become more feminised for her, more masculine for him.

Attendants clap their hands or hold tanpuras or a veena as they sing and the phuljharis – ‘flower-dropping’ sparklers – they hold to send a stream of fire-blossoms to the floor. On the far shore of the lake, fireworks create a veritable forest of flames.

In this miniature painting from Kishangarh, Radha and Krishna are no longer cow herders roaming the forests and pastures. They have become ‘royalised,’ and they inhabit palaces, wear silks and jewels and are waited upon by attendants. They look like Kishangarh royalty that lives in lakeside palaces and possesses fine things. This royalisation was seen in many Rajput courts in the eighteenth century when a surge of Vaishnava devotionalism made the gods seem present in here and now. Like the much simpler paintings of Royal Kangra where Radha and Krishna are seen celebrating Diwali amidst verdant mountains and grassy glades. Their gleaming faces lit up the distant outline of the royal abodes where resided the rulers of erstwhile hill kingdoms.

Diwali was known as the Jashn-e Chiragha’n under the Mughals and was celebrated with great enthusiasm. The Rang Mahal in Red Fort was lit up with diyas on Diwali as can be seen in a painting of Emperor Mohammad Shah Rangeela celebrating Diwali outside the palace with some ladies. The emperor was a poet and Rangeela was his nom de plume.

The Mughal emperor was weighed in gold and silver, which were distributed amongst the poor. It is said that some Mughal ladies would climb to the top of the Qutub Minar to watch the lights and fireworks. Fireworks under the supervision of the Mir Atish would be ignited near the walls of the Red Fort. And a special Akash Diya (Light of the Sky) was lit with great pomp, placed atop a pole 40 yards high, supported by sixteen ropes, and fed on several maunds of binaula (cottonseed oil) to light up the darbar.

Sunita Shekhawat: The Modern Meenakaar

October 29, 2021, 2:55 am

A few hours to go for her wedding ceremony, the bedecked bride is surrounded by her flock of damsels in sustained preparation. One brushes together her lustrous locks while another flatly strokes the immaculate pleats of her attire. Her hierarchically-assembled bangles have been slid through her delicate, mehendi-smeared forearms and a bindi centred on her forehead, not an millimetre out of place. And then comes the part that is overplayed by numerous television commercials nowadays- the opulent bridal jewellery set is descended upon her neckline by a more authoritative family member of the bride, her mother usually. If the situation allows for it, the set is given a tad bit more emphasis with one of the bride’s friends straightening the earring, necklace or maangtika to ensure the underside of it is turned inwards. Drumrolls and dramatic music. And lo and behold, the twenty-first century advertisement for a commercial Indian jewellery brand is ready to besiege the nation’s marriage market.

But the line of approach is vastly different for jewellery designer Sunita Shekhawat, who specialises on reversing the very underside of traditional jewellery sets into an exclusive art form and style in itself. Owing to her patronage and renowned expertise, no longer does the Meenakari art form play as a rear filler to its more prominent Kundan or Polki forefronts. Hence, Shekhawat made her breakthrough into the charged market of jewellery design by breathing a new life into the timeless underplayer of Indian jewellery design, namely, the Meenakari art form.

An invention of the Persian craftsmanship that thrived during the Sasanian era, the Meenakari art form depicts the elongated process of enamelling and ornamenting gold surfaces with intricate designs using liquid or powdered minerals and gemstones. Gold was the preferred metallic medium amongst Meenakari artisans for its durability, lustre, ductility, and superior hold over the enamel fillings. The replacement of gold for more inferior metals such as silver and copper was implemented once the art form dispersed itself to the manufacturing processes of alternate artefacts such as boxes, bowls and art pieces. Despite its perceivable finesse, the componential simplicity of Meenakari art work tended to place it at the lesser visible aspects of ornamental jewellery, as previously discussed. However, several art historians argue that more than being a political placement of opulent worth, the strategic placement of Meenakari in the traditional undersides was deliberately played out to add to the reversibility and element of hidden design to the ornament. Subsequently, the Mughals were credited for bringing this mysterious alchemy of bright enamels to India, where the craft was gradually mastered and inherited by its present-day custodians, a hereditary community of goldsmiths who call themselves Meenakaars.

A multitude of centuries and art legacies later, the vibrant art form continued to glisten over the arid beauty of Rajasthan, which captivated the creative imagination of Shekhawat like no other state in the nation. Owing to her ancestral links of friendship with the royal houses of Jodhpur, Shekhawat had the privilege of accessing a highly limited edition of handcrafted jewellery that remained hidden to the common eye. A glimpse into the jewellery collections of the past inspired Shekhawat to re-create and re-introduce the magnificent art form of Meenakari for the modern world. And with this resolve, Sunita Shekhawat’s jewellery brand was conceived.

Thereafter, twenty five years of academic curiosity and experimentation with craftsmanship helped Shekhawat’s design philosophy to evolve into what it stands for today. Its unique selling point resides in Shekhawat’s exclusive dedication to distinctive and hand-made amalgamations of unusual colour palettes and interpretations of fresco motifs and architectural shapes from different regions within India. Earning her national and global distinction as the ‘Modern Meenakaar’ of India, Shekhawat continues to uphold the age-old legacy of the traditional art form with the underrated challenge of reinventing the design sensibility that applies to contemporary times. At present, Shekhawat’s jewellery collection is displayed to buyers through two flagship stores out of which one is situated in Jaipur and the other in New Delhi.

When asked about her experience as a contemporary jewellery designer who has undertaken the custody of an age-old art legacy, Shekhawat shares some interesting insights that are certain to have been developed by the design maestro through a laborious experience of dedicated entrepreneurship. In her words, “the most important aspects of bespoke jewellery designing is to be able to respect and honour the age-old traditions of the art and craftsmanship while trying to design for the modern day woman. Often in our pursuit of unconventional designing for modern taste and style, we tend to deviate from the art itself. This is the most important aspect of genesis and jewellery designing, and one needs to bear it in mind.” Added to the endless possibilities of design in present times, Shekhawat finds her niche in the ability to harmonise and balance them with the traditional essence of Meenakari art.

The intricate and long-drawn process of jewellery art and its implementation to design modern-day masterpieces is made all the more worthwhile for Shekhawat when seen in tandem with customer satisfaction. “The most rewarding aspect of running a jewellery brand is the fact that you get to be the medium for some bride or lady to be able to achieve her dream jewels. It is most satisfying to see a happy bride as we get to fulfil her dreams for the biggest day of her life”, Shekhawat adds.

Shekhawat continues to deliver the finest customisations and re-inventions to a growing entourage of brides. While she’s at it, she discloses news on her latest addition to the timeless masterpieces of Sunita Shekhawat, namely, the Tanzanite set. Marvellously hand-crafted by skilled craftsmen, this set has been curated using the finest of elements. The deep aquamarine hues of enormous tanzanite are lavishly strung together with an assortment of uncut polkis and hand-picked south sea pearls on a contrasting base of 22 carat gold. The deep blue tones of the massive tanzanites strengthen the beauty of gold and harmonise the modern layout with traditional aesthetics. What’s more, the Tanzanite set is not the first in conveying Shekhawat’s consistency with a thorough know-how of not just the art form, but also its symbiotic possibilities with the world in which it presently thrives. This, and each of Shekhawat’s Meenakari variant confesses an exclusive style affair of its own, from times that have bygone and times that are yet to descend upon us through our necklines.

PRINCESS GAURAVI CURATES FUNDRAISER FOR PRINCESS DIYA KUMARI FOUNDATION

October 29, 2021, 2:53 am

In 1876, when the Prince of Wales Albert Edward (later known as Edward VII) visited Jaipur, Maharaja Sawai Ram Singh Ji II organised an eclectic display of arts and crafts at ‘Baadal Mahal’ to introduce his royal guests to the handcrafted treasures of the pink city. Today, the same ‘Baadal Mahal’, with its mesmerizing motley of blue and white coloured galleries, houses the Princess Diya Kumari Foundation (PDKF), which empowers women artisans through skill building initiatives and creates an exquisite range of handmade inventory for craft aficionados from across the globe.

Women of PDKF strike a pose with their paintings

Princess Gauravi with the women of PDKF

Women of PDKF at the Art Ghar

Princess Gauravi with one of the artists of PDKF during the event

Princess Gauravi Kumari of Jaipur with Shraddha Jain of The Art Ghar

While PDKF has been generating sustainable livelihoods since 2013 under the able guidance of its founder Princess Diya Kumari, its activities recently piqued the interest of her young daughter Princess Gauravi Kumari, who returned home during the pandemic and began investing a significant number of hours with PDKF’s artisans. Gauravi, who just graduated in media and fashion from the New York University found immense delight in engaging with the organisation’s undertakings, and soon transitioned from being a keen onlooker to an active participant across all its initiatives.

PDKF has always been known for its exquisite product range, but what Gauravi brings to the table is her young and contemporary design sensibility which is distinctively visible in the bags, dresses and quirky accessories in PDKF’s current catalogue. She is also involved with the establishment’s collaborative training initiatives like the ‘Swavlamban Project’ which offers free certified courses in digital literacy, tailoring and tour guiding, and ‘Project Pragati’ which has been empowering the underprivileged women by skill building in heritage crafts like ‘meenakari’, ‘gota-patti’, quilt-making and indigo dying. Commenting on these shared synergies, Princess Gauravi says, “PDKF remains committed towards using quality and innovation to make a positive impact, and partnering with master craftsmen and diverse organisations from time to time enables us to explore each-other’s novelty and best-practice solutions.”

One such creative collaboration took place last week when PDKF joined hands with The Art Ghar to host a unique fundraiser in Jaipur. This one of a kind event saw women artisans of PDKF spend leisurely time at The Art Ghar to engage with art, share life experiences, and eventually bring them alive on canvas under the able guidance of Princess Gauravi and Sharaddha Jain of The Art Ghar. Choicest connoisseurs and philanthropists were invited to indulge in these creations during which six of the ten paintings made by the women artisans were sold and their proceeds were donated to PDKF.

Talking about the event, Princess Gauravi Kumari says, “Seeing the women express their struggles, dreams, challenges, and aspirations through the medium of art has been a truly gratifying experience. Our women shared very significant aspects of their lives in a simple yet poignant manner, and that is what touched the hearts of the guests at the fundraiser.” While Lajwanti Devi in her painting titled ‘Nari Ki Shakti’ portrayed the ability of a woman to multitask, Shyama Devi’s work ‘Koshish’ was her humble effort towards raising awareness for aquatic life conservation. ‘Purani Yaad’ by Rekha Devi recreated her childhood nostalgia of running across bajra fields, and Guddi Devi shared her dream of building a two-storey house for her parents in her artwork ‘Mera Sapna’.

While each of these creations reflected an uplifting tale of love, longing and life, it was Chanda Devi’s work that was personally most heart-warming for me. Chanda Ji was consumed by a severe emotional void ever since she lost her mother a few years ago, but when she joined PDKF a month back, the spirit of sisterhood and camaraderie at the organisation enabled her to overcome her grief. Since she found a second home at ‘Baadal Mahal’, she painted its blue and white walls, and lovingly titled it ‘Mera Parivar’. When I discovered the backstory of this painting, I could not help but wonder that this simple piece of art is probably the purest form of validation for the first family of Jaipur for they have succeeded in creating a congenial environment where women feel at home.

As for Gauravi Kumari, growing up amidst living history and in the company of two exemplary women – her grandmother Rajmata Saheb Padmini Devi and her mother Princess Diya Kumari, it was a natural progression for her to harbour a sense of purpose towards redefining lives. Anyone who has met Rajmata Saheb cannot stop raving about her warmth and graciousness, and Princess Diya Kumari, as a former MLA from Sawai Madhopur and as a sitting MP from Rajasmand has won hearts not only because of her regal lineage but because of her humility and hard work. Princess Gauravi certainly has big shoes to fill, but taking into consideration her recent work with PDKF, it would be safe to say that her heart is in the right place.

Digitalising antiquities with Abhinay Rathore

October 22, 2021, 4:54 am

It all started back in 2004. Professor L.S. Rathore, the then-Vice Chancellor of the Jodhpur National University was writing one of his upcoming books that required a family tree to be documented digitally. A fresh computer science graduate at the time, Abhinay Rathore was soon to embark upon his American dream for higher studies when he undertook the initiative to help the professor out.

During his initial research, the young man came across the Indian Princely States Website, an online documentation of princely genealogies being regulated by an Australian called Henry Soszynski.

The scope and dedication of Soszynski’s work left Abhinay highly impressed and motivated him to make a similar effort with the backing of his designing and developing skills. As a goodwill gesture to give back to his community, Abhinay undertook Soszynski’s primary vision and honed it with an impetus to go further, in the form of a deeper and more systemised inquiry into the collective past of the Rajputs. 8 years later, the now-software engineer was taking a walk alongside his wife somewhere in the United States when it occurred to him that it was time.

He registered the domain name of ‘Indian Rajputs’, which would soon become the largest repository of content related to Rajputs in the online world.

Rajputana Collective takes the privilege of featuring Abhinay’s story with ‘Indian Rajputs’, as well as the intent and motives of the enterprising software engineer that shaped the most commendable plan of content integration for the Rajput community since the times of Sir James Tod.

Millennials who have grown up in the urban confines to an Indian city or in a country far away from home. They have grown up hearing the elders of their family tell them scattered ancestral tales and stories of origin. They have a rough idea about their familial heritage, and would be perfectly comfortable in their complacency of it. But what if they were the curious kind? What if they wanted to know more about where they came from? Well, not just from a singularity called India, but where they actually came from. Let’s imagine one of the family’s better historians stepping forth to help the curious millennials out. At best, they could manage digging out some old pictures, memoirs and drawing out a family tree.

The questions still remained- how did we get here? What brings us all together?

Couple this with the frustration of a reader, history enthusiast or scholar for being unable to lay his/her hands on a concise account of India’s Rajput community. If one wishes to steer clear of the clouded stereotypes, unificatory narratives of historical generalisation simply don’t suffice, neither do cinematic narratives.

A well-meaning officer from the East India Company had once produced his documentation of the histories and genealogies of Rajput communities across considerable lengths and breadths of the country. However, never in the past had anyone from within the Rajput community attempted a documentation effort at the scale and scope such as Abhinay’s via ‘Indian Rajputs’.

He introduces his experience as a digital curator by saying, “until now, most of the valuable information has been documented in old books, ancient journals and pictures hanging in royal palaces around India which is the greatest Rajput testament, unexplored and under-appreciated. When I started the website, I never thought I would stumble upon a treasure trove of historical information and pictures all contributed by Rajputs from around the world, which glorifies the numerous contributions that we have made for our people and our country”.

As its sole developer and designer, Abhinay has spent six long years in constructing and maintaining ‘Indian Rajputs’ as a highly interactive and user-friendly database in the best interest of his community. Today, the website attracts around three thousand visitors on a daily basis; and is supported by thousands of contributors from around the globe. Abhinay’s digital prowess and dedication have enabled him to successfully execute a one stop shop for the curious millennial, his historically-inclined relative as well as the under-saturated reader.

Abhinay elaborates on his purpose vis-a-vis ‘Indian Rajputs’ by placing a strong emphasis on the ever-expanding scope of information that requires effective coverage while bearing in mind its user-friendliness and accessibility.

More importantly, despite the demanding nature of an extensive venture such as his, Abhinay ensures its utmost sanctity with a committed adherence to purely philanthropic motives. “I have no financial gains from the website through online ads or subscriptions because I could never weigh this information with money on the other side of the scale. If our future generations get to learn our great culture and heritage through this website and try to help others, I would consider it my biggest reward” he says.

As a part of his professional work experience, Abhinay has interacted with some of the world’s most impactful social networking platforms in the world. At present, he operates as the Front-End Software Engineer for Facebook and directs ‘Indian Rajputs’ in his free time. Invariably, the technical insights gained by him at work are bound to enrich his website with an added sophistication.

These very insights better equip him with a foresight to predict possible foresights, information trends and important considerations to bear in mind while further cultivating his digital platform. “I’ve learned a lot about the rapid growth of online social networks and how to harness their energy in a positive way. We are living in a hyper-growth of digital age where information and data flow are growing at an unprecedented pace and it’s important to make sure e’re at the right juncture to digitalise and deliver relevant information”, he says.

Abhinay’s experiential advantage has sensitised him to stay cautious of the possible threats and limitations of such a project. Amongst the multitudinous loopholes of digital logistics and ethical dilemmas, he points out the importance of maintaining authentic content as well as optimum security considerations. He discusses the challenges accompanying issues of information verifiability as well as user authenticity, and justifies calculated decision of refraining from automating the website in order to maintain content quality on ‘Indian Rajputs’.

Within the six years of its inception, ‘Indian Rajputs’ has made an impressive outreach to the Rajput community worldwide, not just in collaborating varied informational content but in also providing an important networking platform. Abhinay has played a promising role in creating a prospective point of multilateral reference for the Rajput community and continues to further develop his digital annals. In the near future, he envisions an expansion of ‘Indian Rajputs’ from its present database on genealogy to a global directory and an online networking forum to help foster greater online networking for Rajputs across geographical diversities. He hopes for these optimisations to further enhance cultural ties as well as professional liaisons between community persons.

In his concluding remarks, Abhinay reiterates his motives of further nurturing ‘Indian Rajputs’ in order to provide meaningful values to his community without compromising the integrity of the platform. “I always wanted all the buried information to come out on a digital platform and I know I’ve only been able to capture a tiny percentage of it. But by God’s grace and the continued love and support of the community, we will be able to immortalise it for our future generations”, he supplements, says Abhinay.

We salute his generosity and dedication, and wish him a bright journey ahead. May ‘Indian Rajputs’ continue to gain greater eminence and success.

MAHARANI RADHIKA RAJE REVIVES PALACE HERITAGE GARBA

October 22, 2021, 4:52 am

Garba and Gujarat are inter-twined with each other as intimately as hand to glove and Dandiya to the Raas. A lyrical, sublime form of dance, Garba lights up every nook and cranny of the city of Baroda, what with streets filling up with women and men dressed in their ceremonial best hopping from one garba pandal to the other.

This was till the gracious and beautiful HH Maharani Radhika Raje Gaekwad of Baroda, a textile exponent, a craft conservationist and herself a lover of the dance form, decided to bring back the heritage of Garba to the majestic Lakshmi Vilas Palace, launching Palace Heritage Garba in 2019 under the umbrella of Chimnabai Stree Udyogalaya, a not for profit women empowerment and skilling initiative started by her predecessor Maharani Chimnabai the II in 1914. Instantly the entire Baroda converged to the sprawling lawns of the palace where the best of voices drummed up the mood for revelers to dance in neat circles and ring in the spirit of Navratri.

HH Rajmata Shubhangini Raje Gaekwad of Baroda

The shrine

Princess Narayani of Baroda

HH Maharani Radhika Raje Gaekwad of Baroda

Lakshmi Vilas Palace

Garba emulates life as rows of concentric circles depict the circle of life representing every stage of life from birth to rebirth. In the center of these circles is the an earthen lamp placed in front of Goddess Durga’s picture as a way of honoring the fight that took place between her and the demon king in mythological times.

The year 2020 brought in a silence and din to the festivities as the entire universe went inwards to fight a new demon of Covid. The palace too fell silent before the ides of a pandemic ridden time.

2021 however saw a very brave maharani rustle up her own inner Devi to bring back the Gaekwad’s patronage to Garba, this time in a more controlled and subdued manner, turning the festival into a fund raiser for the Udyogalaya that offers vocational training to women. “The Gaekwads, though Marathas have historically patronized the dance form of Garba. We came to rule Baroda in the 1720s and instantly embraced the culture of the city,” Shares, Radhika Raje, admitting that, “I personally love Garba and find it the most spectacular moment that brings the city alive.”

Mughals ruled Gujarat in the 17th Century. During the reign of the emperor Muhammad Shah (1719-1748), the struggle between Mughals and Marathas was at its peak, it was heightened with frequent battles and incursions. The glorious history of the Gaekwads began when Maratha General Pilaji Rao attacked Mughals and conquered Songadh near southern border of Gujarat. He intensified his rule in southern Gujarat.

Damaji Rao, his son and successor defeated the Mughal armies and finally conquered Baroda in 1721. Pilaji Rao became Maharaja of Baroda and founder of the Gaekwad dynasty of the Maratha Empire. Mughal rule came to an end in the year 1732 in Gujarat and glorious Gaekwad rule began.

Maharaja Ganpat Rao Gaekwad ruled Baroda state from 1847-1856 and it was during his golden rule that the description of Baroda state was beautifully narrated by an unknown poet in the form of Garbawali. Adds Radhika, “There is also a book titled Maharaja Sayaji Rao Garbawali that lists some of the most beautiful songs of Garba.”

Whilst scale and numbers were an obvious deterrent this year, Radhika, her husband, Maharaja Samarjit Sinh and her mother in law the Rajmata Shubhangini Raje ji got together to recreate the finest Garba festival within the palace compounds itself. Shares Radhika, “Though we were allowed 400 guests we kept the numbers to 250 guests. We opened up our lawns, lighting up the entire palace with diyas and lanterns. A shrine was created within an arch of the palace from where in the past the men would mount an elephant. At the heart of the shrine was placed a painting of the Goddess by the Late Maharaja Ranjit Sinh Gaekwadji, my father in law who was a reputed artist.”

Traditional music rendered by famed troupes of Amreli, Bharuch and Ratlam filled the majestic portals of the palace as beautiful women in their chaniya choli and men in their angarkhas danced away. A foodie Radhika ensured the tradition of jalebis and fafda on Dusshera andice-lollies, live dhokla counters, and khandvi on each day were served. “For us keeping the tradition alive in its most unaltered form is crucial. I personally select the music, ensuring that only the original, folk songs are sung by these folk artists.”

Lakshmi Vilas Palace, a marvel of Indo- Sarcenic Architecture is reputed to have been the largest private dwelling built, four times the size of Buckingham Palace. It remains the residence of the royal family, who continue to be held in high esteem by the residents of Baroda. The Palace compound is of over 500 acres and houses a number of buildings, particularly Moti Bagh Palace and the Maharaja Fateh Singh Museum building. In the 1930s Maharaja Pratapsinh created a golf course for use by his European guests.

Today his grandson Samarjit Sinh, a former Ranji trophy cricket player, has renovated the course and opened it to the public.

THE GRAND MYSORE DASARA: A TRIBUTE TO THE LATE MAHARAJA S.N. WADIYAR

October 15, 2021, 8:13 am

The Dasara festival at Mysore is renowned throughout the country for its flamboyance and pageantry. The annual 10-day-long celebrations are conducted with great pomp and show that culminate in the much-awaited grand procession which marks the finale of the festivities. The Amba Vilas Palace is the focus of all the activities and in fact, its spectacular illumination is yet another highlight not to be missed. Incidentally approx. 97,000 light bulbs are used for the purpose of this mega illumination. There are also numerous other traditional rituals and ceremonies that take place within the Palace precincts, these are not open for the public so as a photographer when I got the opportunity and privilege to document these proceedings I was but naturally rather overwhelmed. The year was 2012 and the Dasara Celebrations were presided over by the late Maharaja Srikantadatta Narsimharaja Wadiyar, the 26th head of the erstwhile Kingdom of Mysore.

The Mysore Palace or the Amba Vilas Palace, the official residence of the Mysore Royal family certainly takes your breath away. Constructed in the Indo – Saracenic style, this splendid edifice was designed by British architect Henry Irwin who has taken elements from Hindu, Islamic, Rajput, Mughal and Gothic styles of architecture and fused them brilliantly to create this incredible and magnificent structure. Here within the precincts, I was witness to numerous rituals, ceremonies, and pujas including the Ashwa and the Gaja puja (worship of the Horse and the Elephant) the Shastra Pujan – worshipping the Arms and weapons, the elaborate Royal Durbar, and even an annual wrestling competition all of which were presided over by the Maharaja, regally dressed in ceremonial attire, traditional headgear and jewellery.

The Royal Durbar held at the ostentatious Darbar hall was an unforgettable experience; the Maharaja at the auspicious hour ascended the seven steps leading to the dazzling 900-pound gold throne that had been previously assembled as per religious protocol at the pre-ordained hour. The priceless gems and diamond-studded Golden throne or the Ratna Simhasana bearing the Royal Mysore Crest is the legacy and seat of power of the former Rulers of Mysore and is now used only during the Dasara celebrations each year. The Royal Dasara Darbar is a privilege for only those who are invited to partake in this special ceremony. The traditional manner in which the entire proceedings are conducted successfully conjures up images from a glorious bygone era of the Mysore Royals. The private ceremony however is now merely symbolic and a social commitment between the former ruler and his courtiers, the nobility and members of the Royal household who come to pay their tributes and respects on the occasion of Dasara.

Besides the Durbar Hall, the Kalyana Mantap or the Marriage Pavilion is yet another of the many stunning venues within the Palace. Primarily used for conducting wedding ceremonies and important rituals, this imposing, octagonal-shaped structure boasts of a strikingly beautiful, multicoloured, Belgian stained glass ceiling which is supported by handsomely crafted cast-iron pillars from Glasgow.

Maharaja Shrikantadatta Narsimharaja breathed his last on 10th December 2013. He was succeeded by his nephew Yaduveer Krishnadatta Chamaraja who was anointed as the 27th head of the Royal House of Mysore. The 28-year-old Boston educated Maharaja continues to uphold all the Royal traditions and functions befitting the erstwhile and former Kingdom of Mysore.

THE DANCE FORM OF KUCHIPUDI FINDS ITS PRESENCE IN MANY ROYAL HOMES

October 15, 2021, 8:11 am

The Maratha families are known not just for their penchant for the fine arts but also their legacy of performing arts. The dance form of Bharat natyam is traced to the Maratha courts of Thanjavur. The states of Gwalior and Indore being home to the famed Gwalior and Indore gharana. While the former boasts of maestros like P.V. Paluskar and Veena Sahasrabuddhe, the latter has fuelled the talent of many with its slow-tempo and leisurely raga development.

(L-R) Kaushalya Reddy, Riddhima Saurabh Chadha with Dr (s) Raja Radha Reddy

(L-R) Artist Elanchezhiyan Pichaikannu, Kaushalya Reddy, Riddhima Saurabh Chadha with Dr(s) Raja Radha Reddy and Anu Bajaj

Their love for living with the arts starts young. Even today many young royal scions indulge in music and classical dance, training their wards into performing artists and turning them into veritable child prodigies.

One such family is that of Shraddha Nikam, daughter of a noble family of Kolhapur who is not just a spectacular designer but also a trained chef. The Nikams are Nikumb Rajputs who trace their lineage to Lord Rama. Shraddha, a maestro in tapestry art and a truly talented designer takes bigger pride in the training she has had her truly talented daughter Riddhima Saurabh Chadha partake from none other than Guruji Raja and Guruma Radha Reddy. A love for music and the dance directing her to teach her little daughter Riddhima, in the intricate dance form of Kuchipudi

All of ten and already training in classical English vocals and piano, Riddhima revels in Kuchipudi that she learns at Natya Tarangini. She recently danced before a select audience, in the presence of her gurus for the opening of the art show by Art Positive curated by Anu Bajaj titled: Beyond the Myth.”

An exhibition explore the sculptors of acclaimed artist Elanchezhiyan Pichaikannu presenting a wide series of the resemblance of cow, bull, yogi and sacred trees inspired by the Indus valley civilization motifs. Especially Lord Shiva and his favourite Nandi bull. And what better way to salute Shiva and his faithful Nandi then with a performance of Kuchipudi in the gracious presence of Raja Reddy who across the world is referred to as dark Shiva.

Kuchipudi, like other classical dance forms in India, traces its roots to the Sanskrit Natya Shastra, a foundational treatise on the performing arts. The text, states Natalia Lidova, describes the theory of Tandava dance, the theory of rasa, of bhava, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.

The dance-drama tradition in Andhra Pradesh is of ancient origins, and the region is mentioned in the Natya Shastra. Bharata Muni credits a graceful movement to Andhra region and discusses it as Kaishikivritti. The pre-2nd century CE text calls one raga as Andhri, that is from Andhra.

According to Manohar Varadpande, the Kuchipudi dance emerged in the late 13th century, when Ganga rulers from Kalinga were patrons of performance arts based on the 12th-century Sanskrit scholar Jayadev particularly the Gita Govinda. This royal sponsorship, states Varadpande, encouraged many poets and dance-drama troupes to adopt Radha-Krishna themes into the then prevailing versions of classical Kuchipudi. These were regionally called Vaishnava Bhagavatulu.

Brought back to its past glory by the dance gurus, Dr. Raja and Radha Reddy and Kaushalya Reddy, the dance form of Kuchipudi finds its presence in many a historic royal homes. As Shraddha puts it, “Our families were the custodians of living cultures and performing arts. I am so glad that not just us in our forties but also many of our little ones are interested in keeping the legacy of art alive.”

HALT FOR COBALT WITH TARINI SINGH

October 8, 2021, 4:56 am

Amidst the creative cityscape of Jodhpur that has long since bustled with design hallmarks, former NIFT graduate and 36-year-old Tarini Singh’s design label, The Cobalt Company stands out as its latest retail affair. Unlike the majoritarian success stories of rebranding and repackaging some long-existing market potentials, Tarini’s initiative takes the colour blue and deploys it to paint innovation in multiple forms. The multi-professional designer combines photographic art with jewelry and accessories to craft her very own fashion and lifestyle line.

What is so unique about The Cobalt Company, as its name suggests, is that Tarini has developed the rare technique of combining the film technique of sun printing or cyanotype with calligraphic sketches to develop fabric prints. What had been invented in 1842 as a film development technique using light sensitivity with sunlight to produce photographic prints and paper soon became the world’s solution to simple and low-cost photocopying. Colloquially referred to as ‘blueprint’ for its original purpose of making architectural blueprints and photograms, cyanotype forms the chief orbit at The Cobalt Company.

Using its lesser-known wonders, Tarini has begun to produce a distinct clothing range on the one hand, and an eye-catching photographic portfolio on the other. For example, she has used this creative medium to develop original photographs of Jodhpur and other architectural or landscape images that she captured during her travels. She also devises cyanotype fabric products such as bags and scarves that are printed using real leaves and flowers.

Tarini provides a brief introduction to her inception as a designer. “I started The Cobalt Company because I wanted to create a brand that is eponymous with my hometown Jodhpur. I studied accessory design in college and pursued my master’s in leather bags and shoe design. So most of my career post-college revolved around working with accessories. Over the years my design language has evolved to be quite simplistic with a focus on futuristic forms, as is evident in my design catalogs”, she says. Apart from being trained to design professionally, Tarini later opted to hone her keen photographic interest into a formal skill. “I always had a keen interest in analog photography and carried a film camera with me at all times. I got the chance to do a short course in analog photography at Tennessee’s Vanderbilt University, which is where I learned the process of sun printing or cyanotype. It was when I developed my first cyanotype and saw the possibility of developing photographs in blue and white that I knew that I had to explore it further. The particular beauty of this art form is the number of ways in which it can be tweaked so as to get vastly different results!”, she adds.

She combines digitally printed photographs and cyanotype to mix digital and manual double exposure to create a series that Tarini calls Rigid/Fluid. The unmoving properties of her photographic compositions, such as buildings and landscapes comprise the rigid, whereas their dominating botanical skies in cyanotype form the fluid. This particular technique is The Cobalt Company’s signature invention, and Tarini is also beginning to delve into the world of portraiture using this very combination.

While this novel series, as well as the art of printmaking, keep Tarini heavily preoccupied, she hasn’t given up on her foundational grasp of accessory design. This is illuminated in her fine collection of bags, particularly the Martingale bag, a convertible shoulder tote and backpack, and the Saddle weekender, which she has infused with a durable design and versatile strap. These are open to retail and e-commerce via premium fashion websites such as Ogaan, ConsciousCollective.com, and 6degree.

“My objective is to experiment”, Tarini states, a conviction put across so succinctly that one is compelled to ponder over whether they’ll perceive the vast spectrum of colors without halting at blue a little longer. The Cobalt Company, for one, makes it difficult to resist cobalt as blue’s trendiest and most eclectic hue, and one that just got its very own address!

A BEAUTY EVANGELIST RECREATES EVERY FORGOTTEN BEAUTY RITUAL

October 8, 2021, 4:52 am

‘As little girls we were told that Avadhinafasat and nazakat was personified by the gentle whiff of the ittar that was better perceived by the nose of the one standing before you more than the one who dabbed it gently on her pulse point. It was seen as a mood elevator, a relaxant and a calmer.”

Alka Rani Singh, from the Pratapgarh Royal family is a true blue evolved soul who is constantly immersed in recreating the gentle aura of her Avadh. Be it through the hand painted saris that she creates, gently layering a gossamer chiffon with splashes of organic colours or the revival of the long forgotten craft of weaving tissue gold saris that are one thread silk and one thread gold.

She has, however found her niche, her inner calling in the role of a beauty evangelist who, with missionary zeal, is recreating every forgotten beauty ritual that she saw her grand mother and mother perform each day. The Princess of Pratapgarh married to a family of bureaucrats, Alka grew up in the sleepy town of Pratapgarh that her family were the talukdaars of. Where their badihaveli co existed with the sprawling farms, the village folks and the many performing artists who mastered crafts of the heart and the hand.

It was whilst growing up that she learnt from her maternal grand mother and mother, who was married into Vijaypur, close to Mirzapur in Avadh, how a gentle princess were to keep her eyes lined with kohl, her hair fragrant with the whiff of lubaan and her skin porcelain like with ubtan. “I was so enchanted with the way the women of the house would spend a full day extracting natural kajal over a clay lamp, kneading it in pure cow’s ghee and infusing the wick with lots of herbs before it was gently filled into a kajaldaani.” Alka creates the same kajal, made following the ancient practice, simply rolling this organic kajal on a convenient roll on stick.

Ittars too are close to her heart and she presents them in hand blown glass miniature bottles that are worn around the neck. She shares, “Every Princely family in Avadh had its own famed fragrance. Pratapgarh was known for roohkhas (concentrated) and roohmogra. These ittars basically were not distilled in sandalwood oil and so strong that one dot rubbed on your pulse point did the trick.”

Alka revived this tradition of ittar making, also commissioning a family of blown glass artist to make her the bottles. “There is a family in Agra that used to make tiny animals out of hand blown glass. They hand crafted my bottles with such joy.”

Alka’s ittars “Ease your nerves and tackles your anxiety. The pocket sizedbottles help you to keep dabbing. They are a replica of the bottles our mothers got made in silver and gold. Many even embellished with precious stones.”

The royals of Avadh believed that skin must be served with the same delicate food that you consume: The refined herbs, the organic oils. It is with this vision that she has recreated her shahiubtanfor the hair that is made from dry fruits, wild haldi, ashwagandha and other edible ingredients. “My ubtan is a traditional recipe made from 32 convenient ingredients. The 33 added by me is pure gold dust which I get from and ISO certified lab.”

The purist in her also launched a comb nadcrafted from neem that is bacteria and fungus free. “Combing the hair is a ritual that helps rush blood to your scalp. The plastic bristles of the brish simply adds friction to the hair. My comb has rounded, wooden teeth that literally massage the scalp.” Add to that her lubaan, a ritual of running a incense stick under your hair. The lubaanstick is fileld with goodness of googal and ashwagandha and when placed under the long tresses adds a fragrance and body to the hair.

“We are all getting close to our roots then why not return to beauty rituals that are linked to the earth?”

Villas at The Black Buck Lodge are a celebration of elegance, wilderness

December 5, 2023, 1:59 am

Each of the 14 villas of lodge has an en suite room with a patio, sitting area, bedroom, indoor and outdoor bathrooms, and a deck looking out to the exquisite beauty of the bush.

Nestled along the Velavadar National Park, The Black Buck Lodge is set in several acres of plains owned by Mickey Desai who hail from a village in Gujarat’s Kathiawad Peninsula just about an hour from Velavadar. Each of the 14 villas of The Black buck Lodge are an en suite room with a patio, sitting area, bedroom, indoor and outdoor bathrooms, and a deck looking out to the exquisite beauty of the bush.

The interiors are the right combination of the rustic and contemporary elegance – the bedrooms have polished wooden furniture and granite floors, rough-hewn stone walls, wooden logs carrying bedside lamps and an alcove along the window with mattresses and bolsters that can double as a sitting area with a view or a bed to sleep. The best time to visit the destination is from mid October to March. During this time, the weather is cool and chance of sighting of migratory birds are greater. We consider it as the peak time.

The lodge is open throughout the year though the park is closed from mid June to mid October but this is a beautiful time to enjoy the monsoon greenery around the lodge. One can encounter the endangered Lesser Florican and Saras Crane in this region during the monsoon period. When its come to food we have different kind of food variety such as veg, non veg, sea food, Gujarati food, Kathyavadi food, continental food etc.

“Our prime concern when we were planning and executing the construction and layout of the lodge, was that our resort should not interfere with the environment. In fact we went the extra mile to seamlessly blend it into the vistas of the neighbouring National Park. Even the lighting in the pathways and cottages has been kept muted so that our guests can experience this Indian savannah. We have taken various measures to maintain tranquility in our surroundings. Loud music and honking is not permitted. The use of plastic in any form including bottles and wrapping is strictly avoided,” Shares Mickey.

Villas at The Black buck Lodge are a celebration of elegance, wilderness and blackbucks in a remarkable river setting offering an extraordinary experience. The Villa blends the boundaries between inside and outside, creating a seamless integration with nature with rustic doors and windows. Each villa has a luxurious outdoor private shower along with an indoor bath. It offers all modern facilities to offer a rather comfortable stay. Our guests can stay at the villa and come closer to the goodness of nature.

Velavadar Black Buck National Park is a unique grassland park which is compact being spread out in an area of 35 square kms and the only grassland eco system in this part of the continent. While myriad species of birds call this region home, it is the black bucks that reigns supreme here. Indian wolf and striped hyena also roam these plains freely.

The Bush dinner is a must experience if you are staying at the lodge. It’s the best place to unwind yourself enjoying barbecued snacks followed by authentic local Kathiawadi food under star lit sky and around bonfire.

FEELING FLY: VEDIKA RANA

December 5, 2023, 1:59 am

She’s hip and she’s sassy, she’s unassuming and she’s nonchalant. When asked about the staggering figure of 18.1 thousand that organically follows her Instagram handle, the fashionista casually dismisses it as social media fun coupled with sheer chance. A freelance associate producer and event manager based in India’s Maximum City, Vedika Rana is living life one dream at a time. This fall, Rajputana Collective rises to the opportunity of featuring the upcoming creative entrepreneur vis-a-vis her breakthrough into the Indian entertainment industry, notions of professionalism, merit, and the status of women therein.

Back in 2010, a young and aspiring Vedika had descended into Maximum City as an undergraduate student of Mass Communications at Sophia College. Like most young aspirants that enter the pulsating beat of Mumbai, Vedika’s story was no less devoid of struggle and perseverance in competing measures. She formally launched her career shortly after college as an assistant director, and soon enough found her calling in the art of production. Alongside her professional refinement as a freelance producer, Vedika’s socially hospitable personality and suaveness paved her way towards event management and brand promotion. In short, the full-time filmmaker and part-time model-cum-event manager comprehensively juggles her passions and fortes to make the most of a life that she leads purely on her terms.

While professional ascends like Vedika’s might not be rare occurrences in the scintillating pulse of Mumbai, her journey hints at the determining power held by a person’s outlook in the individual framing of one’s destiny and the perusal thereof. In other words, she doesn’t spend too much time romanticising her struggles and instead, places a strong emphasis on the importance of pragmatism, networking skills and capitalising on one’s existing resources.

Speaking of the latter, she attributes much of her gratitude towards her family from which she has derived immense support and encouragement to follow her dreams. Maintaining a similar win-win outlook towards her work, Vedika describes her professional insight in her own words, “I had to go through a considerable number of jobs before arriving at where I am today. Yes, production is difficult and work often gets really tasking and time-consuming. Events too, can really take you over the edge if they don’t turn out great. You don’t always look your best in front of the camera but it is nonetheless exciting and worth it.”

While describing her notions of professionalism, Vedika makes no qualms about taking a pragmatic approach towards one’s workplace and colleagues. The granddaughter of

a regional films’ producer Shri Bharat SJB Rana, Vedika swiftly disperses the compulsion to bask under professional elitism and makes an explicit choice that entails meritocracy and a growth-oriented work ethic. She elaborates, “people tend to get fascinated by my ancestral lineage and my grandfather’s creative output in the industry but I feel that in today’s day and age it doesn’t matter where you come from or what your name is, but more of who you are as a person and how you treat others. Before coming to Mumbai, I was a different person. Getting out in the real world really broke me down in the best way possible and I’m grateful for that. One of the things that I learned here was that at the end of the day, we are nothing but mere specks in this universe and remembering our humble origins makes life so much easier and simpler.”

Through the past five years, her level-headedness at work and outside have brought Vedika some interesting projects and events to focus on. And yet, when asked about her most memorable shoots, she nostalgically reminisces her Lakme shoot as an 18-year-old, simply because a first is always special for being a first. The frequent juxtaposition that Vedika executes being behind and in front of the camera has helped enable her to perceive the entertainment industry from two essential standpoints that are mutually exclusive for most people- that of a crew member as well as a model. “Being a girl, I feel people don’t take you seriously in the industry. Half of them think you’re working behind the camera to eventually come in front of it, not realising that in my case, acting was never really an incentive because I believed to lack any potential to act. So, it took me a while but I got there” Vedika states.

Hence, more often than not, one’s creative mettle does suffer the conventional burden of stereotypes associated with being a part-time model, but personal determination trumps speculation for the 26-year-old freelancer, and rightfully so.

Being on either side of the film reel also enables Vedika to cultivate a more nuanced view into the rampant sexism that has consistently plagued the entertainment industry through its various eras. She admits to the continuing trends of objectification of women that continue to linger despite female actors getting more equitable roles vis-a-vis their male counterparts. According to Vedika, much of the problem of gender-based discrimination arises from the generalised tendency to value looks over acting talent. Vedika advances her point by saying, “despite changing times, the entertainment industry has a long way ahead of it in terms of gender equity. Sadly, a lot of actresses are in the industry more for their looks than their acting which eventually leads them to be just a pretty face in the film rather than a powerful actor”. Her views stand supplemented by several critics of Indian cinema, who have timelessly postulated the blatant sexism that accompanies gender-based roles wherein a female lead of lesser acting expertise is traditionally cast alongside a more competent male actor simply because the former is expected to supplement the latter with fine aesthetics and a bare-minimum of acting.

An effective remedy to this media-based chauvinism lies in diversifying every sector of the entertainment industry, such that an increasing number of women can reclaim roles and spaces that have thus far been dominated by stereotypes and generalisations to their lesser advantage. By occupying the dual roles of production as well as modelling, Vedika seems to be inadvertently reclaiming empowering spaces in her own right, and Rajputana Collective wishes her every success in her endeavours.

THE QUIET KINGMAKER

October 1, 2021, 6:37 am

The world’s eyes are trained on this family, what with the grand patriarch, Capt Amarinder Singh hogging all the debates, discussions, and viewership on prime-time news. Speculations are rife on whether Capt Amarinder Singh will join the BJP or branch out on his own. Will the BJP use his entry as a ticket to go soft on the farm laws and with the Maharaja of Patiala manage to sweep the forthcoming elections?

Nirvaan Singh

As the cameras go ballistic on his face, one tall, handsome, and quiet pillar stands by his side, from dusk to dawn, handling his grandfather’s social media campaign, his political calendar, his propaganda machinery, and his image before the press. A quiet king maker, this graduate from Stephens who studied politics in the United Kingdom is none other than Capt Amarinder Singh’s grandson Nirvaan Singh. A Sanawarian who went on to study in Delhi’s Sanskriti before making his way to the United Kingdom, he is the social media head of Amarinder Singh’s account and takes his job profile way above that.

Angad Singh

The son of Amarinder’s daughter Jai Inder Singh, Nirvaan is married to Dr Karan Singh’s granddaughter, the stunning Princess Mriganka Kumari. Whilst his elder brother Kunwar Angad Singh Sandhawalia of Raja Sansi, an avid polo player and businessman, married to his school beau, Kunwarani Aprajita kumari (daughter of Ex-CM of Himachal Pradesh Raja Virbadhra Singh of Rampur-Bushahr state), both brothers simply personify the family’s many-layered links with the Congress. Their mother helped Amarinder’s wife Perneet Kaur fight the elections, whilst Nirvaan, at that time, fresh from university was apprenticing at her office. Perneet was the external affairs minister in the Congress government. Interestingly, the family tree is closely intertwined with the Congress party on all sides. A tie-up which this grandfather and grandson must be finding it tough to on how to clip off.

In 2017, he took over the social media campaign for his grandfather in the thick of the elections. “It was a tough time as we would be on the road from 5 am in the morning to 1 am in the night.” While he stood by the side of his grandfather he also ensured that the Twitter page of the leader kept buzzing.

During the elections, he made headlines calling Arvind Kejriwal a ‘sneaky little fellow!’ When the TV channels tried to attribute this chutzpah to the grandson, Nirvaan was vociferously heard saying, “His words, not mine”. Laughs Nirvaan, “My grandfather is very involved with the social media realm and often keeps awake till 1 am in the night to go through all the comments.” Even now when Amarinder is calling out his so-called rival Sidhu in the most entertaining manner, Nirvaan is simply ensuring the amplification of every witty one-liner Captain pens himself.

While Amarinder’s son Raninder Singh, a shooting champion prefers to train his eyes on sports, many in Punjab are calling Nirvaan the heir apparent to his grandfather’s throne. He smiles when you suggest that saying, “Every minute with my grandfather is full of learning.”

TRIUMPH, COURAGE AND DETERMINATION ARE INDISPENSABLE: CHUNDAWAT

December 5, 2023, 1:59 am

Krishnapal Singh Chundawat’s story as a jaded MBA student with subdued creative ambitions would resonate with more than just a handful of Indian youths. The pitch and tone of his career in the corporate rat race had been set when Chundawat decided to let his heart direct his fate and yielded TO fulfilling his cinematic dream of founding Rangbari Cinema.

All this and more with no prior knowledge of cameras, film making, editing or producing.

Rangbari Cinema is Chundawat’s very own wedding film production label that dedicates itself solely to the coverage of Rajput community weddings. The specific idea of establishing Rangbari Cinema arose out of Chundawat’s deep conviction that his community is culturally rich and traditionally elaborate weddings were not attracting the coverage that they duly deserved.

He believed that his personal origin and familial backgrounds instilled in him the sensibility and aesthetic sense that an authentic Rajput wedding filmmaker required.

“I found there to be a commendable amount of effort being put into upholding the traditional wedding customs in place however, not much was being done to highlight Rajput Wedding culture as well as the people that it involved and brought together. Hence, I decided to present these weddings in a way that would best utilize my knowledge of Rajput rituals, custom and y love for traditional Rajasthani music,” says Chundawat.

His intent was sincere and clear alright, but the impoirtant question remained. No videography skills? No recording experience? How would Chundawat run Rangbari Cinema without ever hving held a camera in his hand? After a series of self-teaching lessons on editing through Youtube, Chundawat amassed a professional team of four people and approached one of his relatives with the proposal of filming her upcoming wedding. His determined promise to deliver his best shot got the bride-to-be on board and that’s how Chundawat Rangbari’s first ever wedding video in December of 2017, which he called Kuckoo Ki Shadi.

Ever since, Chundawat has covered eight such Rajput weddings and is bettering his production skills as he progresses. Apart from his struggle to break through into a skilled industry with no prior background in photography and videography, Chundawat mentions the stereotypes that he had to battle on a personal front. In his words, “It was challenging to convince my parents that I wanted to pursue a profession that they or the society did not consider respectable. Especially, since I was leaving my job in the finance sector to enter the wedding industry. However, one’s courage and determination triumphs in the end, as did mine.”

His selective approach towards Rajput weddings, however, benefitted him over other prospectives as his clients trusted him with the cultural know-how that is imbibed within the Rajput community. He also adds an important reason for his exclusive selection of Rajput weddings, which he identifies as authentic content with immense coverage potential. Having had begun his journey within Rajasthan, Chundawat hopes to expand Rangbari Cinema to other Rajput states as well as other avenues of wedding services, such as event planning and decor. “I want to work towards my culture, my people and to put Rajputs on the world map for their cultural heritage. I also gain tremendous satisfaction from the fact that my work essentially helps people cherish memories of a lifetime and the happiness of a satisfied customer is indeed priceless”, he concludes.

‘ROYAL FABLES COMEBACK SHOW’ SETS THE TONE FOR FESTIVITIES

September 24, 2021, 7:28 am

BACK TO LIFE

Cynthia Meera Fedrik, Brigedier His Highness Sukhjit Singh of Kapurthala. (From L to R)

Nidhi Sah and Digvijay Singh. (From L to R)

\

Atisha Pratap and Neelam Pratap Rudy. (From L to R)

Anshu Khanna and Neelam Pratap Rudy. (From L to R)

Raj Ratna Singh Deo

Kamakshi Khanna

It felt like a balm on frayed nerves, a chance to bring back the eye on forgotten crafts and a regal lifestyle. ‘Royal Fables Comeback Show’ held at the home of the erstwhile maharaja of Bikaner set the tone for festivities in Delhi.

Shivani Verma

(L-R) Kamini Singh, Nawaab Kazim Ali Khan of Rampur and Rani Vinita Singh Patiala

Kunwarani Vrinda Kumari of Bhaisongrah

For me, it felt like life coming back. Simply to see so many people appreciating handcraft, shopping for art, listening to talks, enjoying a kebab from the kitchens of Rampur was invigorating. One realized how much we had missed in life, sitting coupled up with the feat of Covid-19 consuming our mind.

Mandira Lamba

(L-R) Dharmesh Shah, Raja Bimlendra Mohan Mishra of Ayodhya

(L-R) Kalpana Singh Wankhaner, Rajmata Shubhagibi Raje Gaekwad of Baroda

(L-R) HH Maharani Radhika Raje Gaekwad and Madhu Jain

(L-R) Maneka Gandhi and Khusboo Bagga

Royal Fables comeback show, in New Delhi, presented handicraft products made in 35 palace studios of India, besides hand-picked heritage brands. The two-day-long exposition was inaugurated by HH Maharani Radhika Raje Gaekwad of Baroda, HH Brigadier Sukhjit Singh of Kapurthala, Raja Bimlendra Mohan Mishra of Ayodhya, Rajmata Subhanginiraje Gaekwad of Baroda, H.E Emmanuel Lenain- French Ambassador to India, and Union minister Arjun Ram Meghwal.

Anurita Titus, H.E Mr. Emmanuel Lenain- French Ambassador to India, Diljeet Titus. (From L to R)

A fashion show featured heritage jewels by Sujhal and handmade ensembles by over fifteen palace studios and were featured on the ramp. Accompanied by the music of Kamakshi Khanna and an opening act by ShivaniVerma, Umrao Khan Langao of Jodhpur sang praise to the royals of Rajasthan.

Reshma Punj

Manjari Mishra of Ayodhya

A series of meaningful talks on heritage, cuisine pairing by Pracheen-India before 1947, and the Royal Kitchens of Rampur added to the royal experience. Indeed it felt like yesterday once more.

Vaani Tripathi Tikoo

Vidya Shah

ANSHU KHANNA ON WHAT DROVE ROYAL FABLES INTO SUCCESSFUL REALITY

December 5, 2023, 1:59 am

As a special tribute to one of our key patrons, Rajputana Collective discloses the story of Royal Fables as told by its founding lady herself. With over nine bedazzling seasons, various international chapters, a retail outlet, and most recently, her comeback post the pandemic, Anshu Khanna recounts her special journey with Royal Fables. Their humble beginnings and the spirit that they carry forth through the narrative of every fable and every fairy retail.

It is my firm belief that one, real craft owes its lineage to the patronage of the royals; and two, that there is no Indian luxe story bigger than that of the royal studios wherein we nurtured a host of Indian arts and crafts. A significant source of the indigenous design movement, this revivalist effort in its grain of resilience, in a nutshell, counts as my royal fable.

It all began when, as a journalist, I kept meeting so many young, blue-blooded design and art aficionados, each of whom had an impeccable story to tell. They were elegantly straddling the two worlds. One, of being born into democratic India, privy to the same education as the others, bearing the same opportunities as the rest. And the other, of being scions of history and legacy that still existed within their havelis, forts, and palaces. Monuments that withstood seventy long years of independence, to continue serving home to them.

My formal tryst began when I met a young and very handsome prince from Jodhpur: Raghavendra Rathore who, returned from Parsons and quietly took his place in the heart of the Indian couture movement. Then, there was the young and beautiful princess Diya Kumari of Jaipur who, single-handedly revived the 22 karkhanas that thrived within Jaipur’s City Palace. There were also the quiet Mandawa girls who revived their looms in Mansa with their mother. I met them at a textile fair and was bemused by how they stood apart, their elegant frame draped in fine chiffon. Indicating their royal roots like their attire was their work, which was steeped in the Rajput dress sense: divine motifs of the suraj (sun), the chand (moon) and the Mughal bootas in their silk, the ombre dye in their chiffons. In similar conjunction stood the elegant, young princess of Kishangarh, Vaishnavi, whose art redefined the indigenous art scene in being resplendent with cows, alta on their feet, lotuses, abloom in the pond, and the ever-intense Shrinathji. Whatever she created through her local artists had such an original freshness to it. Similarly, the bold strokes of Alkarani from the Pratapgarh stood miles apart in her hand-painted saris.

It was stories of endearing stories of people such as these, along with their diverse arts that I decided to tell to the world through Royal Fables. An increasingly competitive and commercialising world had left one thing crystal clear, that I could have not taken these art products into the market yet, for the royal studios lacked consistency as well as a market sense in terms of a coherent business outlook. What unitedly led them was the urgent need to keep their art legacies alive, have their looms spinning and ensure their art thrived as the master kaarigar (craftsman) passed on his craft to an equally willing generation of youngsters. It was during this very phase that DLF Emporio asked me to think of a unique bazaar concept. A voice inside me said, “let’s tell a Royal Fable!” And just like that, as if it were an ordain from above, we were born.

Royal Fables when simply defined is a chic, high-nosed royal exposition that not just presents the creative oeuvres of palace studios, but also presents the culture and cuisine of royal India. We were the first to host a royal banquet in the presence of the Jung family at Falaknuma, way back in 2010. Later years saw us showcasing cuisines of Sailana, Rampur, Kishangarh, Kangra, Limbdi, Bhainsrorgarh, and Kotwara. We assisted the music aficionado Maharaja Brajraj Singhji of Kishangarh to revive some of the rarest live recordings of women like Lalita bai and Gauhar Jaan, whose were voices of the pre gramophone era. But we did all this as quietly as the royals, sans blowing our own trumpet or singing from the cliffs of our USPs…. Maybe there was a Singh lurking in our hearts and soul?

‘So what is this Punjabi doing amongst Rajputs?!’ is a question thrown at me much too often with many suggesting that I might have a ‘Singh’ surname in my lineage. Or that my wearing pearls have to be because I think, deep down, like a Baisa! Many even subtly suggest through a whisper campaign, that like the myriad others, I may be a wannabe royal hanger-on, rubbing off their persona onto mine!

Alas, none of this is true. And I am sorry to have burst many bubbles as I declare that nine seasons and ten years later I remain true to myself: A proud Punjaban who is rooted to the ground. In this sense, I agree when many laugh and suggest that: It took a Punjabi to bring so many royal homes together, taking the stiffness away from their narrative. Two Punjabis actually as I could not have got the royals on our side without the effervescent support of my 2IC Akshat Kapoor.

Many drove my concept of Royal Fables into the successful reality that it presently is. We seem to have a divine connection with the DLF group: both Royal Fables and now Palace Karkhanas owe their patronage to them. My friend and soul sister, Sadhana Baijal took Royal Fables to the acclaim it deserves in Mumbai. My daughters, Akshiena and Akanksha, gave it the design parlance and designed the logo. Varun, my husband and backbone, simply takes the intricacies under his wing each time and of course the team itself- Deepali, Maanvi, and Kamakshi, who are such a lovely lot of girls.

Now, nine seasons old with chapters in Thailand, Morocco, Canada, and the US achieved and a permanent label to sell under Palace Karkhanas, we still struggle to stand on our two feet. Each season the struggle begins: where to find funds to showcase the splendour in its real glory; who to associate with; and how to make those damn ends met. But we go on, telling that fable and reliving the past. Because what is life without a fairy tale and the world without its princes and princesses?

DISCOVERING UNHEARD OF FABLES AT ROYAL FABLES

December 5, 2023, 1:59 am

Exploring the illustrious legacy of princely India, Royal Fables - the brainchild of journalist, publicist, and craft crusader Anshu Khanna - has been passionately promoting traditional workmanship burgeoning inside the royal and noble residences of the Indian sub-continent for more than a decade. As the country’s much-loved heritage exposition culminated its ‘The Comeback Show’ this week at Bikaner House, New Delhi, I discovered some fascinating unheard fables about the participating royals.

Art from Bikaner Royaal

Namrata Singh

Namrata Singh Jewellery

Shivraj Singh Limdi with his wife Madhushri

Tripti Singh at her Ghoomar event

Rohini Singh wearing Just Chiffons

Princess Mahima Kumari & Sannjna Kumari of Bikaner

HOW RANI JAYKIRTI SINGH OF BARIA COINS NAMES FOR HER ENSEMBLE COLLECTIONS

Block prints have always held a place of pride in the Indian textile history. Jaipur’s much-revered craft has been perfected over centuries but what distinguishes Jaykirti Singh’s work is that she sprinkles a dash of contemporary seasoning to the traditional art form, making it relevant in today’s times.

Jaykirti believes that genuine bonds with friends and family strengthen one’s connection to life. They tie us to the past. They also help us envision a road to the future. They become the key to our sanity during times of chaos. They also inspire creativity. As an ode to these strong bonds in her life, she coins the names of her ensemble collections after people who hold a special place in her heart. Whether it’s her close friend Rani Sarbani Shah of Jaisalmer, her earliest patrons like Rani Maya Kumari of Ajairajpura, and Kanwarani Sneh Kumari of Jamnagar, members of her present staff Harshita and Kiran or her gorgeous daughter Mriganka Kumari; Jaykirti has showered her gratitude to each one of them by naming her collections after them over the years. For someone like Jaykirti who has always held such an understated demeanour, this grand gesture of eternalising her bonds of love is truly reflective of her benevolence —an unheard fable worth being told.

TRIPTI SINGH SHARES A MOMENT OF HILARITY FROM HER GHOOMAR EVENT

Despite living away from her home state for almost two decades, Tripti Singh has beautifully nurtured its culture with her unique event franchise ‘Ghoomar – Twirl With Grace’, allowing Rajasthani traditions to blossom in the cosmopolitan landscape of Gurugram. Facilitating socio-cultural initiatives in a city whose cultural ethos still remains largely disconnected from its past is no ordinary feat, but Tripti is no ordinary woman.

Talking to her is like unveiling a treasure trove of stories, but what instantly comes to mind is the incident from her event in 2018 where the highlight was a sword dance by two supremely talented artists. On the day of the performance, while everyone was eagerly awaiting this performance, Tripti was posed with a big problem. The hotel security refused to allow the swords inside because weapons were not allowed on the premises. It took her a tense hour of pleading, cajoling, showing video clips and finally signing a release to convince the security in-charge that the swords were just a dance accessory and the girls had no intention of chopping each other’s limbs off.

HOW NAMRATA SINGH DODGED A VERY PECULIAR WORK CRISIS

Growing up in the pink city amidst a family of culture connoisseurs, Namrata Singh fell in love with Jaipur’s glorious legacy of skilled art forms at a very young age. A first-generation jewellery designer, she embraced the handcrafted brilliance of her home town very organically and evolved her unique design sensibility over the last few years.

Namrata’s unheard fable is about how she evaded a tricky situation at work with her presence of mind. At one time, she received multiple orders for a particular pair of earrings. Three women were keen on wearing the same design on different occasions at different locations. Unfortunately, only one pair was available at that time. Namrata came up with a brilliant plan and requested all three clients to wear it for their respective functions and return it until their pair was ready. Luckily, they all agreed to share that highly sought-after piece, and Namrata managed to rotate it between a trio who didn’t even know each other! A few days later, she delivered each client’s order along with a note of appreciation.

WHY ROHINI SINGH’S WARDROBE DOESN’T HAVE ENOUGH SAREES BY JUST CHIFFONS

Self-taught design revivalists Rani Dipti Singh of Kachhi Baroda and her daughter Rohini entered the realm of artisanal handiwork more than a decade ago while curating Rohini’s wedding trousseau, as they found themselves getting an array of customised chiffon sarees made due to a dearth of available options in the market. The sarees made by them piqued the interest of many connoisseurs in their home town Indore, and they were soon flooded with queries. Their initial clients mostly belonged to Dipti Singh’s social circle, who convinced her to pass on the pieces she had meticulously handcrafted for Rohini saying she had plenty of time to get new ones made for her daughter.

As the sarees worn by friends and family began to do rounds of various gatherings, more orders poured in, creating a perfect opportunity for the duo to delve into the marvels of vintage design. Sometimes the dreams that come true are the dreams one never even knew one had. When Rani Dipti Singh had lovingly recreated past regalia for her daughter, little did she know that the two of them would evolve as a brand to reckon with, in crafting the fabled six-yard story? Rohini shares how her wardrobe still does not have enough sarees by their brand Just Chiffons as whenever they create a piece for themselves, it lands up being loved so much by the clients that it gets purchased instantly.

HOW A FOOD BUFF LIKE SHIVRAJ SINGH LIMDI EVOLVED INTO A MUCH-ADMIRED ROYAL CHEF

Talking about Shivraj Singh Limdi and his delectable culinary skills come very naturally to me because the words flow out of my mind as effortlessly as his succulent ‘chakki ke sule’ slip into my mouth! While I’m familiar with the cuisine of Limdi due to a close family connection, the sophistication of taste and gastronomic excellence that Shivraj brings to Limdi cuisine is much beyond a family’s kitchen secret. His wealth of information about royal cuisine and history is impeccable. What he serves is not just a family heirloom in the form of a traditional recipe; it largely comes from a place of passion from his purity of love for food.

How a connoisseur of food evolved into an admired chef is what forms his unheard fable. A few years ago, Shivraj was dining at a swanky Indian restaurant of a five-star hotel. He ordered their much-acclaimed kebab platter but was very disappointed with the preparation. As someone who is passionate about food, he requested to have a word with the chef. While he was indulged in a tete-a-tete with the chef about the nitty-gritties of what he thought wasn’t right with the preparation, the hotel manager approached him. In the heat of the moment, the manager told Shivraj that if he was so well versed with the dynamics of this cuisine, why not give them a peek into his culinary talent. Shivraj invited them the home the following week, and as luck would have it, bowled them over with his extravagant spread of delectable cuisine. The hotel management ate to their heart’s content that evening and soon invited Shivraj to host his first-ever food festival at the very same restaurant where it all began.

HOW THE VENUE OF ‘THE COMEBACK SHOW’ HOLDS SPECIAL SIGNIFICANCE FOR PRINCESS MAHIMA KUMARI

Founded by the visionary ruler HH Maharaja Ganga Singh Ji, and having welcomed the veritable who’s who in the past, Bikaner House, one of Delhi’s most gracious cultural venues hosted the much-awaited Royal Fables comeback show this week. While this was an exciting time for all connoisseurs of luxury retail, it held special significance for the scions of the Bikaner family: Princess Mahima Kumari and her daughter Sannjna Kumari, who marked their debut in the country’s much-loved heritage exposition this year with their venture ‘Bikaner Royaal’.

Making an earnest effort towards carving a monolithic identity of their roots, they presented an eclectic ensemble of objets d’art from their native lands like ‘ittars’, Usta art and other heritage memorabilia. Having watched her grandmother Rajmata Sushila Kumari and mother Maharani Padma Kumari using exotic ‘ittars’ throughout their lives, it was a natural progression for Mahima to immerse into the realm of ethereal fragrances. Similarly, while growing up in Bikaner, she walked amidst exquisite wall frescoes showcasing Usta art at her family’s many regal residences like the Anup Mahal, Karan Mahal, and Badal Mahal at the Junagadh Fort. Usta art is known to have flourished the most under the royal patronage of HH Maharaja Rai Singh Ji several years ago. Today, life comes full circle for this family as the same craftsmanship receives patronage from his successors through ‘Bikaner Royaal’ at the former home of the Bikaner family.

The evolution of Royal Fables is the story of regal patronage to craftsmanship, the revival of vintage artistry, and the resurgence of ageing craftsmen, who have been creating eternal finesse in the palace karkhaanas for centuries. The royals have never closed their doors on talent. In this post-pandemic era, the artisans associated with palace studios seek our support more than ever. The need of the hour is to appreciate their stories and encourage their skill-sets. Therefore, Anshu Khanna’s brilliant and resilient revivalist effort in this direction deserves all our love and applause.

QUEEN OF THE COURT: BHUVNESHWARI KUMARI’S SQUASH LEGACY

December 5, 2023, 1:59 am

Fourteen years ago, on a sultry summer afternoon in Ajmer, the Mayo Girls’ squash team was summoned to meet their new coach, who was to commence their first training camp together. Five minutes before the scheduled time, a lime-yellow Zen hatchback appeared around the corner and from it emerged a reasonably tall and medium built squash veteran, jovial and laid-back as she remains upto this day. As the youngest member of the team, my 11 year-old self first noticed her striking pair of multicoloured Asics joggers, which I would later come to associate as a quirk belonging solely to my beloved coach. For the remaining seven years that I spent in school, not only was my coach a guiding force in my sporting pursuit as a varsity athlete but also a life coach and a dear friend. Now, after a decade and a half of knowing her, it gives me immense pleasure to showcase the extraordinary legacy of the extraordinary sportsperson that she has been. Without further due, Rajputana Collective proudly dedicates its sports section to none other than the iconic queen of the squash courts, Bhuvneshwari Kumari (affectionately known to most as Candy and Ma’am Candy to her students), as she shares her introduction to the sport, her ascending journey and finally, her insight into the future of squash in India.

Bearing the Commonwealth Torch back in 2010

Bhuvneshwari Kumari receiving her Arjuna Award(Down) and Bhuvneshwari Kumari(Up)

Contrary to our standard custom of meeting at the Delhi Gymkhana to knock back a hearty Chinese meal, I met Ma’am Candy for a scheduled interview as a preliminary protocol for this article outside the Willing squash courts on a late winter evening. It seemed peculiar to me that despite knowing her for the better part of my life, there were so many experiences and accounts so intimate to her sporting career that I was listening to for the very first time. Pitching in a slightly linear pace to my interview, I began by asking Ma’am Candy the most basic starting question, “how did your journey as a squash player begin?” With an almost childlike light in her eyes, she perched up on her chair, crossing her arms on the garden table and with a deep breath, transposed me back to her teenage years.

“To be honest, my legendary affair with squash began with a mere fluke. I was a sixteen year-old when the women’s nationals happened to be taking place in Delhi. The match draw enlisted seven participants and was short of just one player in order to form an even roster. Since my father happened to be a close associate of the federation, he offered to help by pleading me to pitch in as the eighth player. I had been playing tennis in the national circuit in any case, and he convinced me that playing a match or two of squash wouldn’t be too difficult, since the two racquet games were quite similar. A thorough novice, I was worried about making a complete fool of myself at the squash nationals, to which my father resolved to arrange training sessions with the marker at these very courts at Delhi Gymkhana. He promised me that I’d just have to play squash for one day, for the sake of proceeding the women nationals’ draw forward; and that I could go back to playing tennis after that. After two weeks of training, I appeared at St. Stephen’s College to play my first match. To be honest, I was looking forward to having fun and didn’t think much of the result. But as luck would have it, I won my first match, defeated the country’s top seeded player in the semi-finals and entered the finals to play against my cousin Nandini, to whom I lost after a very close five-setter.”

After her lightening rise to squashing fame, the rookie reclused back to playing tennis.

In a year’s time, the women’s squash nationals were again waiting to take place. “My family and friends talked me into enrolling for a second time. They said that a one-time victory could be perceived as a fluke, so I should re-instate my victory as genuine by participating again. Hence, I put in a month’s practice this time and swept the winner’s title. The same story followed through the following year, when I was advised to top my newly-established talent with a hattrick victory. And so it was!” For these first three years, Ma’am Candy was only associated with the Indian squash circuit in terms of an annual appearance at the women’s national championship. Her formal training and career-building with squash commenced only after her third consecutive national title, when her exasperated tennis coach Dulaare complained of the game to have ruined her tennis skills and asked her to choose between the two. Deriving more accomplishment from squash, especially with the little effort that she had put into the game, she decided to kiss tennis goodbye. Supporting this decision of hers in retrospect, she adds, “I won’t lie to you by telling you that it was a particular aspect of the gaming technique that superseded tennis and drew me to it. It was the sheer feeling of winning that becomes addictive in any game. Once you start winning, you start loving the feeling. My story with squash was in pursuit of chasing the same, sweet feeling- of victory.” And hence, a new star had dawned in the Indian squash circuit, and would continue to dominate it for the next decade and a half.

During her active years in squash that spanned from 1976 to 1992, the squash legend has held an astonishing record of fifty-nine titles, out of which she has clenched the national title for sixteen consecutive years. The government of India felicitated her sporting achievements by presenting her the prestigious Arjuna award in 1982 and a Padma Shri in 2001. The K.K. Birla Foundation and the Limca Book of World Records have hailed her for holding the maximum number of national titles by a sportsperson in 1991 and 1992 respectively. Recollecting her days as a formidable player, Ma’am Candy elaborates, much to my amusement, “I even participated in the men’s events of a few men’s tournaments, including the Nationals where I did well by winning the first three rounds. Thereafter, I was not allowed to play on because the male contestants were getting complexed by losing to a woman. They were scared playing against me, but I enjoyed winning against them!”

After an unparalleled dominance of the squash courts for sixteen long years, Ma’am Candy sustained a severe bout of knee damage in 1992 that suspended her squash career. A knee replacement in her case meant a year-long gap, which was too prolonged if she were to make a meaningful return into the game. And hence, she formally retired from competitive squash but continued to participate as a World Squash Association (WSA) certified level 2 coach through various national and international squash championships, such as the Commonwealth, Asian and South Asian Games. She continues to serve as the secretary of the Squash Association of Delhi and is closely associated to the Squash Racquet Federation of India (SRFI).

When asked about what she considers to be the primary virtues of a successful squash player, Ma’am Candy emphasises on the basics that form her key strategy. Hard work, consistency, discipline and dedication are uncompromisable components of the game.

An undying adherence to one’s utmost potential, she supplements, is of crucial importance as well. She highlights how, even a five percent drop in performance could acutely amount to a loss. The precision and fitness required in order to keep up with the highly-demanding game has, in public opinion, sharply reduced the number of active years that the average human being spends playing squash. However, Ma’am Candy busts this myth by placing emphasis on the senior events allotted to players as old as sixty-five and above in the World Masters’ Series. She says that a player’s durability in the court has lesser to do with their age and more with their inner mindfulness vis-a-vis the extent of their personal limits of fitness and endurance. Erratic pursuers of the game who take up too much too soon without paying apt considerations to their health and fitness end up placing excessive load on their joints and cardiovascular system, which is when the trouble essentially begins, she explains.

Finally, Ma’am Candy accredits a thoroughly optimistic outlook vis-a-vis the future of India’s squash trends, stating the existence of optimal training standards within the country. “There isn’t much difference between many leading Indian squash players and world champions. The fact that India managed to win a Commonwealth gold, is in itself a statement that we are out there. Furthermore, the generation of new champions is made more accessible by the increasing number of public courts that have expanded squash from being an elitist game of the past to a more widely-available form of recreational as well as competitive sport. Kids nowadays are hungry to win and their commendable discipline makes it a pleasure to coach them” she says.

Just when we begin to wrap up our meeting, a parent approaches Ma’am Candy with his young one, inquiring about the ongoing tournament’s roster. After providing them brief instructions, she glances back at me, and then at the Willingdon Squash Courts. “Ever since I first started with the game, I never quite stopped, as a player, a coach or a proud affiliate. It was in these very courts that I received my first training session as a sixteen-year old, back in 1976. And here I continue to remain” she says, in a beaming nostalgia and grace of her own.

ROYAL FABLES MAKING A COMEBACK

December 5, 2023, 1:59 am

The last two years have been most trying on the craft community, the artisans who as per official numbers account for 40% employment within rural India. Whilst the elements of crafts that are part of functional existence still thrive the royal, regal, and rich.

I have had the good fortune to interact with many master craftsmen, artists and weavers who work within Palace Karkhanas under the direct patronage of royal scions who keep the legacy of craft alive. These palace karkhanas have historically housed legendary artist like Nihal Chand (Kishangarh 17th Century), Nain Sukh (Kangra 17h Century) Raja Ravi Varma (Baroda, 18th Century). Keeping this legacy alive are young royals and nobles who have converted parts of their homes that were erstwhile palaces and havelis into craft karkhanas.

Starting 15th September to the evening of 16th September all these heritage fables return to the city of their origin Delhi, telling their heritage fable at Bikaner House, home to the erstwhile royal family of Bikaner.

Royal Fables is my little prayer to keep the luxe side of Indian heritage alive. Something I stumbled upon 10 years ago. A scribe and a craft lover, I kept on meeting young royals who, despite sterling education, took the conscious decision to steer clear of urban living and fast paced careers. Instead they moved back to their roots, living in far flung towns of villages, converting their large homes into heritage homes and, at the same time, taking the legacy of patronage forward.

Hence Princess Vaishnavi Kumari, a SOAS graduate went back to her fort in Kishangarh, found the descendants from Nihal Chand’s family, revived the Kishangarh school of miniature art. Radhika Raje, the Maharani of Baroda invited young designers to get inspired by Ravi Varma artworks to create cushions, throws, art books, museum memorabilia and oelographs from the Baroda school to keep the historic residency alive. The young kunwar of Bera Yaduveer Singh revived the hand tucked hunter jackets, the rani of Baria Jaykirti brought back the beauty of block prints, the Mansa royal family led by Thakurani Darshana Kumari of Mandawa

So setting out, curating yet another year, let me share the top ten things you ought to watch out for in this comeback edition planned, executed and celebrated under the damocles sword of a pandemic:

1. The sheer beauty of Princess Vaishnavi Kumari of Kishangarh’s textile inspired miniature art. It is a veritable must have for any art lover.

2. The rich, embellished collection of jewels for the royals from Sujhal, Gujarat’s best kept secret.

3. The sheer beauty of heirloom pieces crafted by the young costumer Pankaj S who creates sheer magic with hand made tilla, vintage weaves, old tanjore art on textiles, jewelled necklines and the finest resham do taar collections for men.

4. Its time for textile lovers to be spoilt silly for choice. We have a treasure trove to take home: The vibrance of textile exponent Bela Sanghavi, patola’s, ikat and Paithani in silk rubs shoulders with the inimitable gold weave of Mansa, immortalized by Thakurani Darshana Kumari of Mandawa, Kanwarani Ritu Sinhji Wankaner who revives classic designs and gives them a contemporary twist. And to add to that is the first ever presence of Weaver’s Studio, the master weavers platform who step onto the forum for the first time with their vibrant Varanasi looms by Reshma Punj. Rich and regal and perfect for the festive feel.

5. If we speak of royalty can chiffons be left behind? Get festive ready with exquisitely embrodiered chiffons by Kanwarani Dipti Singh of Kacchi Baroda and Kanwarani Geetanjali Shekhawat Jassowala. Or opt for the digital prints by Rani Jaykirti Singh Baria. Couple them with her velvet jackets and capes. And lo and behold, you are an epitome of regalia.

6. We give back to society what society gives us through a dedicated space for varied charities. Urja lead by H.H. Maharani Radhika Raje Gaekwad of Baroda opens its first forum outside of Baroda, Giri Foundation that celebrates crafts of the hills brings clusters reviving the delicate Chamba rumal, Maneka Gandhi’s PFA returns with its hand blown glass and you have women from Afghanistan creating sustainable home décor elements with retouched saris and textiles.

7. Every aspect of royal heritage is captured through talks on royal cuisine, patronage, art, philanthropy, beauty rituals etc. Each talk steered by an industry expert. The library at Bikaner House will resonate with strong voices that relive the raj. Including the chat by Uday Pratap Singh in conversation with young royals and their ‘trysy with destiny’.

8. Heritage must be showcased to perfection and we have the top ateleirs participating in a costume parade that comes alive in the Chand Bagh of Bikaner house. Under the crystal sky and the shining stars will be presented 30 hand crafted pieces, modelled by young royals who walk to the tune of Umraa Langa singing with Kamaakshi Khanna

8. Last but not the least is our culinary platform Kitchen of the Kings that once again collaborates with the cloud kitchen of Pracheen, India before 1947 with the cuisine from the royal kithcens of Rampur. Scrumptious curries and kebabs cooked in flavored ghee from Pratap Garh celebrate the erstwhile era.

10. Last but not the least we promise to follow all Covid protocols ensuring the heritage experience is also safe and sound for each of our patrons of heritage.

NITYA SINGH: WEAVING A MAGICAL TEXTILE TALE

December 5, 2023, 1:59 am

Kanwarani Nitya Singh, or Bulbul as most in the royal fraternity know her as, is a much loved, exuberant textile revivalist who has made the fabric of Chanderi and its resurrection her raison d’etre. Born in the princely state of Sanand, Gujarat, a place known for its Goddess who blessed many legendary music maestros, including its ruler (her father) who was the guru of Pandit Jasraj, Bulbul grew up to the sounds of music and all things fine.

She got married to Sumer Singh from Garha in Guna, a jagirdari of the Scindia state, enjoyinga closeness to both Rajput and Maratha kingdoms. Bulbul, a true lover of classical music, while residing in her village learnt of the thriving weaves of Chanderi, also knowing first-hand of the rot that was setting in. “So many of the weavers were going off the hook to till land, work as labourers or rush off to the big towns of Bhopal and Indore,” she shares.

She decided to adopt a weaver’s school, inviting the artisans to create a full range of solid toned saris that she then got hand-painted and embellished with vintage borders. She shares, “Chanderi to the royals of our region is what chiffon is to our cousins in Rajasthan. It is the royal families that turned it into such a gossamer textile. I take the rich story a step further, adding vintage borders, embroidery and hand painting the three bastions of refinement patronised by women of noble blood.”

The weaving culture of Chanderi emerged between the 2nd and 7th centuries in the two cultural regions of the state, Malwa and Bundelkhand. The Chanderi sari tradition began in the 13th century. In the beginning, the weavers were Muslims. Around 1350, Koshti weavers from Jhansi migrated to Chanderi and settled there.

The tales of this celestial textile dates back to the times of Lord Krishna when his cousin Shishupal cited the use of Chanderi in the ancient literature. Also, one can find its mention in the old books like Maasir-i-Alamgir where Aurangzeb ordered the use of cloth embroidered with gold, silver and zari for making the khilat (a ceremonial robe or other gift given to someone by a superior). Chanderi textiles are fashioned by interlacing silk, and gold zari in the conventional cotton yarn, which results in the formation of the lavish, glistening texture.

For Bulbul, the weave is simply a canvas. “It is my playground where I create magical designs that we saw our mothers wear.”

TALE OF TWO SISTERS AND A TRUNK

September 3, 2021, 12:58 am

Amidst the frequent bustle of Jaipur’s C-Scheme neighbourhood, there lies an alleyway leading up to yet another commercial building studded with subleased banks and offices. There, in front of an obscure white building is a black iron railing that cascades up a stairway that ends at a landing. The doorway lacks signage, and I begin to think I am in the wrong building, before Arushi, the younger of the two Madhok sisters, steps out.

She’s in the middle of a phone call, waving and beckoning me to come in. Two steps into the door, and I am engulfed in a different world, of artisanal trunks and nostalgia that doesn’t percolate to its passerby’s in the slightest. A pastel-coloured lobby welcomes me in, with a trunk accented at the centre of lounge chairs. Further inside, there are yet more trunks dominating the centre of seating arrangements, and in one prominent corner of the room against the backdrop of a large bay window, I see a large work desk headed by two executive chairs instead of one. This chic workspace jointly belongs to Aaditi and Arushi Madhok, my childhood family friends and more notably, the co-founders of Tronc & Co.

Over a casual rendezvous over cups of green tea with the Madhok sisters, we discussed everything from spiritual retreats to post-pandemic tourism, pet peeves at design exhibitions to Aaditi Jija’s newly found fascination towards political firebrand Mahua Moitra. But most significantly, I learned some interesting insights into their entrepreneurial story as India’s very first creators of bespoke luxury trunks. Thus culminated Aaditi and Arushi Madhok’s very first feature with Rajputana Collective.

“Tronc & Co. was born out of a love for trunks, boxes and the associated nostalgia. Usually, the trunks that one sees predominating the market are highly androgynous in their appearance. Contrary to standing out, they just blend right in. With Tronc & Co., we wanted to design pieces that are both feminine and high on design in ways that make them stand out from the rest”, begins Aaditi Madhok.

In a renewed birthing era of Jaipur’s independent design labels, Tronc & Co. shares not only its native place with the likes of Kesya, Polofactory and Dhora, but also its co-foundation by a pair of entrepreneurs. However, while their contemporaries have spelt vogue within existing design tropes, Tronc & Co. has embarked upon an unchartered territory in this regard. In other words, Aaditi and Arushi are markedly the first designer duo to reclaim an article as undermined as the trunk and rethink its aesthetic and functionality at an entirely different paradigm altogether.

In an elaboration, Arushi says, “The scope of trunks is immense. They can be used for both storage as well as furniture or accent pieces. A trunk can be designed to look like an antique or an ultra-modern piece. A trunk is both luxurious and functional- at Tronc & Co. we believe a trunk can transform any space- large or small. Our design sensibility is a take on antique prints whereby we re-imagine and re-work nostalgia with a dash of the whimsical.” Having pursued a designing course at Raffles, Singapore, the younger Madhok imparts her own flair onto the young venture.

Aaditi and Arushi jointly emphasise upon their design values that revolve around uniquely customised products based exclusively on the client’s requirements. The bespoke factor of their products is what they believe makes Tronc & Co. a truly unique experience for the buyer. Upon being asked, they even share the experience of their first order commissioned to Tronc & Co.

“Our first order was for a hand-painted gun case, and we were over the moon. That feeling of heading to work with a clear purpose was almost a heady feeling. We had to educate ourselves on guns and the working structure of a gun case, which was very interesting. The fact that this gun case turned out beautifully got us many more orders, and that was incredibly rewarding”, they recall.

Today, Tronc & Co’s design inventory consists of not only trunks and gun cases, but also watch and jewellery boxes and bespoke handbags. The latter has gained immense popularity of late, and its rare value resides in the Madhoks’ commitment towards never repeating a design for two orders. Hence, each one of their handiworks tells its own story that is impossible to be re-enacted by another. All their products are handcrafted in Jaipur from start to finish.

“After the drawing board, production starts with the team of carpenters who craft the piece by hand. Then, the piece goes to the polishing unit for base preparation, allowing our team of artists to start with the artwork. Thereafter, it is sent back to the polishing unit for a multilayer lacquer finish. Lastly, the bells and whistles from our specially designed brassware are installed”, Arushi explains.

Exploring the advantages and limitations of working in a partnership venture, I ask them about their experience of co-working as sisters. “Working with my sister has been an absolute pleasure, having a shared childhood and shared experiences and values makes it so much easier to work together. Though we are two very different people, our core values are aligned and that makes all the difference. Being able to share our accomplishments and fulfill our dreams together could never be the same as anyone else”, says Aaditi, who is seven years older than Arushi.

As they put together vision boards for new handbag designs, the duo at Tronc & Co. earnestly shares a more futuristic dream. “We hope to someday have stores in New York, London and Milan. To have our handbags showcased at Fashion Week is a big dream for us. Most importantly, we wish for Tronc & Co. to grow from strength to strength, to be synonymous with top quality and ultimate craftsmanship,” they add.

Understanding the art of mindful consumption from a nutritionist

August 27, 2021, 6:25 am

Like most of us, she too spent her 20’s neglecting most of her nutritional and lifestyle choices until her experience of motherhood daunted a set of realisations upon her. Now that her body had given life to and nurtured two beautiful children, she heard it pleading her to stop taking it for granted any longer. Right from that day, she decided to reclaim her motherhood with a renewed sense of nutritional understanding. She had committed herself to set a better example of wellness for her children and felt an overpowering responsibility of nurturing them with the very best. To do so, she searched high and low and found very little nutritional information on pediatric nutrition for Indian parents alongside a barrage of misinformation. With this, she found herself finding more reasons to go back to school and emerge with a better direction and approach to fulfil this quest.

Thus far, Devyani was no exception when it came to being conditioned around the myth that places expensive and imported food as an inherently superior form of nutrition. After all, our modern-day lifestyles and contemporary schools of thought imbibe that within our mindsets on a day-to-day basis. However, it was her quest to discover the optimum ways of nutritive consumption that took her back to Vedic scriptures, and their mention of baal (pediatric) and mithaara (nutrition). “I was sold on the principles right from the very first book I read. Unfortunately, the lives we live today are very different from the lives of Indians living at the time of Ayurvedic principles being established some 5,000 years ago. In other words, it would prove to be very challenging for us to stop refrigerating our foods or using air conditioners or to rise with the sun and rest with its setting. Many such modern-day limitations led me to come up with my version of modern-day nutrition, which is rooted in ancient Ayurveda as a way of life nevertheless.

Furthermore, Devyani does not deny the important role of modern medicine when it comes to receiving immediate medical attention. However, her take on curing minor ailments, non-communicable diseases and chronic illnesses situates itself most trustingly upon the premise of Ayurveda as an extremely sustainable and functional approach. She supplements this with an interesting comparison of how modern medicine and Ayurveda perceive human wellbeing.

“Whereas modern medicine has a linear view on good health, Ayurveda is an ancient healing system that recognises healthy human existence as a tripod, comprising of the body, mind and soul. It is going to take many more years before modern science recognises this third aspect of the spirit or soul. Ayurveda understands the soul as our daily operating consciousness on a spiritual level. Yes, the soul is invisible, but Ayurveda believes in the possibility of its study through behavioural patterns. Self-inquiry is the foundation of spiritual healing, and in duly including all aspects of our being, Ayurvedic approaches of wellness target the root of the ailment through a deeply functional approach”, she concludes.

Q. It is said that we are what we eat. How has your recent education of Ayurveda impacted your perception of this saying?

A. ‘We are what we eat’ is most apparent in the delicate existence of children. Whether it is a sweet-induced sugar rush or the lack of healthy fats as part of the diet of children that makes them lose their exuberance - they are exactly what they eat. As part of our academic curriculum, we worked on a large number of cases in the malnourished category and not all of them were below the poverty line. It was interesting to see a large number of children from affluent homes struggling with unknown malnutrition causing growth barriers and lowered IQ levels. These children were being raised on a diet of skimmed milk, high fibre bread, and not enough healthy fats - all considered healthy for adults. Ayurvedic principles state the importance of the number seven. Seven chakras, seven dhatus, seven musical notes, seven colours of the rainbow, and the first seven years of a child’s life. The food choices and exposure in these early years set the tone for their entire life. Hence, what you eat in the first seven years of your life is what you are and what you always will be. Make sure you make smart choices for your child.

Q. What are some of the superfoods that you have discovered along your journey? What would be their key benefits?

A. I don’t think anyone or two foods can be a superfood but I do believe that hyper-local foods are superfoods. Foods that are grown locally, specific to a particular area or district are super in their uniqueness and biodiversity. I remember reading a medical study done by the professors of Jodhpur National University that highlighted the ability of sangri (the bean-like pods of the Khejri tree) to fight Covid-19. Another such example is research done on the red chillies of Mathaniya village in Rajasthan.

Researchers have found these local peppers have seven times the amount of Vitamin C found in oranges. So according to these findings, someone that ate locally, honouring their food heritage, would have a good chance of preventing or beating Covid-19 without popping vitamin C tablets to increase immunity levels. Of course, there are the usual suspects like turmeric, pepper, amla, etcetera, but I would classify them as beneficial plants and herbs instead of foods with benevolent superpowers.

Q. Do you believe in immunising foods? What are some easily accessible immunity boosters to live by?

A. Two neglected immunity boosters are exercise and sleep; easily accessible to us all - yet avoided. The regular practice of physical exercise promotes improvements in quality of life and can act in the immune response, reducing the risk of developing systemic inflammatory processes and stimulating cellular immunity. When we sleep, our bodies produce a protein called cytokines, which target infection and inflammation, creating an immune response. exercise and sleep both give rise to our natural killer cells. A supportive diet of anti-inflammatory foods, nuts, fresh citrus fruits, vegetables, eggs, and fish support cellular integrity and provide the body with complete protein of high biological value.

Q. What is the one food mantra that you live by, and would suggest?

A. Mindful consumption, which I do not merely limit to food. I try to be mindful of the books I read, the shows I watch, the podcasts I listen to, and of course the food I eat. Honouring our senses with the respect they deserve is a good self-protecting method of keeping toxins away. When It comes to food specifically, we need to be mindful of the signs our body gives us. We naturally crave what we are nutritionally deficient in, we crave foods that give us hormonal satisfaction that we didn’t gain elsewhere, our body also gives us satiety signals telling us we don’t need to eat anymore. Mindfulness is a way of self-love.

Retracing the hill kingdoms

August 27, 2021, 6:23 am

The kingdoms of the hills, the erstwhile princely states that filled the Himalayan region and spread right up till Nepal had a unique story to tell. Coping with rough terrain and even rougher climate, they lived a life of simplicity, existing within a small community wherein the village folks could reach out directly to the reigning king.

Sudarshana Kumari

Megha B .Purohit

Tika Aishwarya Katoch and Shailaja Katoch

Bushahr, Mandi, Kangra- Lambragaon, Chamba in Himachal; Tehri, Chaukori, Rishikesh, Garhwal in Uttrakhand and the royal family of Jammu & Kashmir, the Jamvals in J&K, who at a time also ruled Punjab and Ladakh. All these families had fiesty women in common who play a major role in state politics, push for organic farming and help women in creating craft clusters of shawl making, food products, jams, cheese, and marmalade.

Little wonder then that the Supreme Court advocate turned activist, Megha B. Purohit, on the India launch of her NGO Giri Foundation invited the young, intelligent and beautiful Sudarshana Kumari to speak on behalf of the women of Himachal. Married into Bushahr, a state ruled by Raja Veer Bhadra Singh, also the CM of Himachal. Bushahr is a far-flung region of Himachal filled with apple orchards, large grazing tracts for shepherds to take their cattle to and rocky mountains where the tribal people of Himachal reside. It is about 130 km from Shimla and is well connected with NH 5 which passes through Theog, Narkanda, and Kumarsain.

Backing craft clusters as well as jam and marmalade making cottage industries that “dot our region“, Sudarshana is “working closely to help women from my state to earn a living, “ she shares while adding, “the women of Himachal are strong-willed people: they farm, fetch water, graze cattle, and weave their shawls and coats in their spare time. They are ably employed and aware of their rights. Except a patriarchal society shackles them to a large extent.”

This is precisely the reason why Megha, born in Katra, Jammu and now living in San Fransisco, launched the Giri Foundation that hopes to empower one million women from the hill states of India by 2025. She elaborates, “Somehow we, Himalayan women, are on the fringe of most benefits. My sisters living on top of high mountains, across rivers and in jungles, welfare reaches them with miserly prudence. I want to change that. I also found out that besides women support groups, the royals, and nobles of these three states have contributed immensely to empowering women.”

In Himachal as well, the erstwhile Royal Family of Kangra, Tika Aishwarya Katoch and Shailaja Katoch support many craftswomen, artisans, and farmers of their region. They also keep the famed Pahari miniatures alive through the Sansar Chand Museum created to honour Maharaja Sansar Chandra, their ancestor whose reign was known as the golden age of Kangra. Maharaja Sansar Chandra inherited the throne of Kangra when he was just 10 years old. By the age of 21, he had defeated the Mughals and had won back his ancestral fort of Kangra. True to the saying, “He who holds the Fort rules the hills”, the young Maharaja ushered in an age of prosperity and the Indian renaissance of paintings.

The Katoch dynasty is reputed to have ruled the town of Kangra and its vicinity since time immemorial, a town in what was known as North Trigartha. The kingdom of Trigartha is as ancient as the Mahabharata and extended right up to the areas we know as the Punjab, Uttarakhand and Himachal, and parts of the Jammu and Multan (now in Pakistan). Trigartha denoted the land of the three rivers, the Ravi, the Beas and the Sutlej.Also hoping to be on board the Tehri Royal Family who’s head Mala Rajya Laxmi Shah is a politician and a social worker, Megha hopes that she can create a universe of supportive, like-minded women who can represent the world of the hills to perfection.

Somehow we, Himalayan women, are on the fringe of most benefits. My sisters living on top of high mountains, across rivers and in jungles, welfare reaches them with miserly prudence. I want to change that. I also found out that besides women support groups, the royals, and nobles of these states have contributed immensely to empowering women.

DEEP KHATRI: A YOUNG MIND THAT THINKS OLD AND RECREATES THE ANCIENT

December 5, 2023, 1:59 am

His is a young mind engaged in the pursuit of heritage and history. A scion of a historic lineage that wants to keep his family legacy of nurturing craft clusters alive. Employing master weavers and creating what can best be called threads that celebrate history. Meet Deep Khatri, the young couturier behind Khatri designs.

Deep Khatri, who belongs to the ancient lineage Somvansh, spends all his life promoting what he believes is the only true form of fashion in India: Slow fashion. “Our country is steeped in handcraft and a legacy of artisanal luxe that far surpasses any.”

The seat of power of the ancient Kartavirya Arjuna, who was a king of an ancient Haihayas kingdom with capital at Mahishmati, which is on the banks of Narmada river in the current state of Madhya Pradesh, the empire disintegrated much before the advent of colonial times. And, many members of the family then got engaged in creating craft clusters and weavers villages. Like Deep’s ancestors whose footsteps he dutifully follows.

“I take my inspirations from vintage art, royal costuming and historic architecture from around the world including India and its re-emergence in the modern couture and present-day luxury vocabulary,›› he says.

Hence his design story is all about working with the weavers of Maheshwar and Paithan, two regions his family nurtured the weavers of. While he himself loves Patolas of Patan, Gharcholas of Gujarat and Ambi Kairi weaves of Varanasi. Also a designer, he adds the design element creating shoes for men that are duly embellished with zardoz, lehengas. “I don›t call myself a designer, rather I am an artist who is engaged in promoting any kind of artform that catches my eye and soothes my aesthetics and I am compelled to work for,” he says.

“For me, the Indian heritage, royal architecture and vintage jewellery are that segment of inspiration, which drives my thought process whenever I decide to design something. I don›t really like and believe in ‘fast fashion’ and mass retail because for me fashion is the most personalised visual of an individual which best describes its muse. Craft-oriented designing, keeping things simple and grand at the same time, classic for that vintage look, are the stylistic identity of our brand.”

Besides creating masterpieces for his own couture studio, he also works with artist Ravidarshan Vyas of Gondol to co-create an art story called Suramya, or wearable fashion. In this brand they together create digital prints based on Vyas’s art that further get tailored into shirts, saris and odhnas. “Ravi bhai is deeply inspired by the era of Ravi Varma’s residency in Baroda. The Rajya Vaid from Gondol, he works closely to re ignite the aura of this era, whilst I interpret into art that you can literally wear on your sleeve.”

A young mind that thinks old and recreates the ancient, Deep is quietly winning the title of a conservationist.

A BOND OF THREAD: HISTORICAL RECOUNTING OF RAKSHABANDHAN

August 20, 2021, 7:37 am

Every year as the lunar month of Shravana welcomes its full moon (Shravana Purnima), India rises to celebrate the Hindu festival of Rakhi or Rakshabandhan. On this day, millions of sisters tie sacred threads or rakhis/kalawas to their brothers’ wrists while praying for their longevity and well-being. In return, they are granted presents that symbolise the eternal and unconditional vow of protection from their brothers.

Formally translating into the bond (bandhan) of protection (raksha) that is sanctified by a thread (rakhi), the festive bond prevails beyond ties of blood. In other words, rakhi exchanges on this day take place not only between siblings, cousins and distant relatives, but between any two people who share a similar camaraderie of love, trust and loyalty. Thus, it is not uncommon to find verbally proclaimed or muhbola bonds that are consecrated by a rakhi, and more importantly, it is this very nuance that distinguishes Rakshabandhan’s cultural symbolism.

This Rakshabandhan, I pay tribute to the various myths and legends associated with the origin of the custom. Despite being unique in their timelines of occurrence and the characters involved, their common context echoes in the joint validation they provide to humanistic bonds that transcend familial ties. Each one of these anecdotal references, regardless of how authentic or verifiable they seem, transmit the recurring triumph of the human spirit, when solicited by another in raw confidence. As one will come to experience through these countless tales (of which I very briefly narrate only four), each one of us is capable of upholding common humanistic values no matter how contrasting our origins, compositions and situations might be.

THE STORY OF RANI KARNAVATI

The most popular tale of referral in my side of the world revolves around Rani Karnavati, the widowed queen mother of Chittor whose kingdom was facing an aggressive advance by the then Sultan of Gujarat, Bahadur Shah. After shrewdly ascertaining that her vulnerable army stood little chance to prevail over Bahadur Shah’s offensive, she sent a rakhi to Mughal Emperor Humayun, who in turn honoured his newly established brotherly duties and arrived at Chittor’s rescue. Most contemporary historians flout this account for its lack of mention in historical records and even in Humayun’s personal annals. Irrespectively, the imaginative possibility of a Mughal Emperor coming to the rescue of a distant Rajput queen that he had probably never met is deeply moving.

DRAUPADI AND LORD KRISHNA

As per an episode in the Mahabharata epic, Lord Krishna’s restorative fight for Dharma against the demon King Shishupal caused him a bleeding wrist/finger. To prevent further bleeding, Draupadi tore off a piece of cloth from the edge of her sari and tied it around the wound. Feeling immensely overwhelmed by this gesture of hers, an emotional Lord Krishna vowed to protect her in any circumstance if and when the need arose. And evidently so, he miraculously intervened during Draupadi’s iconic disrobing or cheerharan by the Kauravas. No matter how many yards of Draupadi’s sari the licentious Dushasana unwrapped, her overlooking saviour, Lord Krishna ensured it never ran out, thereby protecting her honour and dignity in a courtroom filled with initially guffawing Kauravas who were left dumbstruck.

ROXANA AND RAJA PURU

This particular story dates back as early as 300 B.C., during Alexander’s many conquests in the western parts of the Indian subcontinent. A distinctly powerful defence was put up against the Macedonian forces by the Jhelum river in Multan by Raja Puru or King Porus of the Paurava dynasty. Raja Puru’s formidable elephant army amidst the torrential rain and slushy battle ground terrified Alexander’s men, and Alexander himself considered retreating back to Macedonia as per one version of the story. Just then, his wife Roxana intervened, approaching Raja Puru with the customary thread of Rakhi that she had been enlightened about during her Indian excursion. The following day, the Sun dawned upon extraordinary skies, with Raja Puru graciously accepting Roxana’s initiative and extending his cooperation to Alexander. Whether or not this was a reality, Plutarch’s accounts do confirm Alexander’s officiating of Raja Puru as a Hellenic Satrap and granting him land domination south of the river Hyphasis or Beas.

GODDESS LAKSHMI AND KING BALI

The Bhagvata and Vishnu Puranas recount demon King Bali’s insistence that the Lord Vishnu live in his palace after he won all three worlds from his demonic clenches. True to his word, Lord Vishnu agreed and began living in King Bali’s palace with his divine consort, Goddess Lakshmi. Unhappy with her Lord’s decision as well as his newly fostering friendship with the demon King, Goddess Lakshmi devised a plan of exit. She approached King Bali disguised as a Brahmin woman, seeking his protection until her husband returned. King Bali agreed to grant her his protection and welcomed her into his palace. Then, on the auspicious day of ShravanaPurnima, she tied the symbolic thread or rakhi around King Bali’s wrist, thereby deeply touching the demon king’s heart. Thrilled by the affection that he had received from his newly-found sister, King Bali asked for her to make any wish that her heart desired, which he would happily fulfil. Upon hearing this, Goddess Lakshmi revealed her true identity and earnestly pleaded with him to release Lord Vishnu from his palace, such that they could return back home to Vaikuntha. Disheartened, yet true to his word, Kind Bali relented and granted her wish, with the sole condition that she and Lord Vishnu visit him annually for a meal on this very day of ShravanPurnima.

Thus, these four compelling accounts from different mythical and historical contexts bear significance even today, for the essence of Rakshabandhan continues to thrive amongst us. The purity of loyal union, and its universal possibility even echoes in more recent historical accounts, most popularly during the British-led partition of Bengal in 1905. Back then, it was none other than Rabindranath Tagore who encouraged his fellow countrymen and women to observe a mass Rakshabandhan festival to instil feelings of love and togetherness between the Hindu and Muslim populations of Bengal as they stood upon the brink of separation. 116 years after, we celebrate 75 years of our country’s independence, while mourning the loss and displacement of millions of lives in the process. The universality of Rakshabandhan stands as strong as it did back then, and more still, for reasons that I hope we are able to recognise.

UNDERSTANDING AND ANALYSING ANCESTRAL ACTIVISM

December 5, 2023, 1:59 am

The days have been flowing at a hectic, almost but not quite frenetic speed that has been all but normalised in the year that was 2020. The nights are even longer but have a distinctively spiritual and self-reflective quality. India is a cacophony of sights, sounds, smells, a sensorial fest where chaos is its equilibrium. But now India teeters around a dangerous flux. A flux around religion and autocracy as exemplified by the shutting down of Tanishq stores and the taking down of television ads due to religious tensions and also the shutting down of the Amnestry International India office. As I sit in silence during the night, I reflect that in most interviews I do have some variation of this question: Why do you do what you do when you could literally and metaphorically sit on the throne, afford to do nothing and enjoy life?

In the beginning, I blushed being called an activist, I felt silly, unsure of a label coming from without. As I thought about the earliest experiences and going back and visiting family and friends in Rajasthan and Lucknow, Uttar Pradesh, I realise that activism is not something we do but largely who we are as Rajputs. I am fully cognisant that casteism is alive in India, I think about and identify with aspects of the Rajput caste from a cultural, historical, and clan identity lenses much like Dr Gounder and her Tamil roots. This is as opposed to viewing myself from a legacy of possessing hierarchical inalienable rights. In the simplest sense, our very identity, cultural upbringing, and multiple centuries of history render activism not a conscious choice but a way of life.

At conferences when I speak about decolonising psychology and a colonial mindset, I have our relative Raja Rao Ram Baksh Singh in mind. As the Raja Rao of Daundia Kehra of Unnao district of Uttar Pradesh (what was then Oudh province, a vassal state of the British East India Company), he was hanged by the British on 28 December 1857 for taking part in the revolt and being found guilty of killing British Soldiers. Demonstrating Rajputs’ long-held need and penchant for diplomacy, he was a close associate of Nana Sahib, the Indian Peshwa of the Maratha empire and a Brahmin by birth. Our history is steeped with strategic and tactical alliances such as that between Mughal emperor Akbar and the many zealously independent Hindu Rajputs he came across. Through marital alliances and certain tax abolishments, religious discrimination was reduced. Arguably, Rajputs were hard to pin down and viewed as tough. Policies of suzerainty, conciliation, and an enrichment of all were seeded through taking interest in other religions and active discussion. As a result, centres of cultures flourished.

As a little girl, my earliest memories are first paying respect to the ancient Durga mandir on the estate followed by a visit to the memorial the Government of India built in 1992 to honour Raja Rao’s death. I would then watch my grandfather Thakur CB Singh Bais sitting straight and dignified holding court in the cold early morning sunshine in the subregions of Baiswara, where he dealt and sorted a diverse ray of issues from land grabs, zoning, running for office to domestic violence. All of this he did with equilibrium and unmistakable judicious wisdom and dignity. Even though I was running around petting my goats and eating matar ki sabzi, this laid the groundwork for the modern-day workings of our Rajput legacy.

If before there were preoccupations about war to protect land, genealogy, and the population at large, that protection now comes in forms like that of girl education as championed by Princess Diya Kumari and my father who famously said “You have the face to be on a cover but you also have the brains, be the editor”. Once when my father Thakur Birendra Bikram Singh Bais asked my grandfather about my elder sister’s marriage prospects, my grandfather replied with feminist infused wisdom, “If you want your happiness, arrange it. If you want her happiness, let her choose”. Often India, and Rajasthan, in particular, are criticised for gender regressive norms yet there are important pockets of free and liberated thinking such as the push for autonomy my grandfather displayed that the next generation of Rajput nobles must capitalise on.

Society in its current avatar is built on cavalier extremism buoyed by the anonymity of social media, a cancel culture, and fragility where tolerance for disagreement and uncertainty is next to nil because of the echo chambers we surround ourselves with. Post-independence, Rajputs have been firm but flexible: reimagining their purpose whilst anchored to a deeply held sense and knowing of resiliency. This Noblesse obliges that extends beyond entitlement and into the realm of serving is what Rajputs can use to strengthen the fabric of society. Indeed, the cultural pull of leadership and identity is so strong that often populations are predisposed to listen to the ‘ruler’ of their hearts rather than a political leader like a Chief Minister. Viewed through the lens of epigenetics and the psychoanalytical collective consciousness; fearlessness, the strength of mind, body, and spirit continue to populate Rajput societies. For the greater good, stability, and peace to prevail, there must be a continued expansion not of land but of mind. The agile cultures are the ones at an evolutionary advantage. We look to replacing deeply patriarchal practices and upholding the dignity of women through education and gender equity, according to her the respect of a goddess not in some, but every realm now.

No subculture gets it fully right yet it is crucial to realise what we bring to the table. Rajputs are poised to do activism and build bridges precisely because the ancestral history is one of being guardians and custodians of nature and the people, advocating for just and equitable rule (first amongst equals). Going one step further, the current generation must necessarily grapple and think about colourism, casteism, and the relevance of royalty. What are our ways of being that are no longer pertinent and what are ways to take intergenerational nobility, fierceness, and valour and reshape it so it is 21st century fit for purpose? My answer continues to be human rights.

Dr Anjhula Singh Bais is Founder, Director, Consultant Psychologist at Fourth Dimension Consultancy. She is a Young Global Leader, World Economic Forum, Fellow, Apolitical Academy & Recipient, American Psychological Association Global Citizen Psychologist Citation.

Prince Harry: Royal Rift ‘No Turning Back’ as Charles Split Grows

‘There Is No Turning Back’: Royal Rift Hits Breaking Point

Trust Issues Fuel Prince Harry and King Charles’ Family Fallout

Camilla Stays Out as Prince Harry and King Charles’ Rift Grows

The Golden Thread: Inside Jaisalmer’s Five Storied Wonder where merchant kings once walked

The Cloth Merchant’s Canvas

Architecture That Defies Time

The Dance of Light and Shadow

Artistry in Every Corner

The Golden Age of Architecture

A Symphony in Sandstone

The Mirror Palace Within

The Merchant’s Quarters: Where Business Met Luxury

Women’s Domains: The Hidden Spaces

The Art of Preservation

Stories in Every Stone

Living Heritage

The Future of the Past

Beyond Tourism

Legacy in Stone

Whispers in Stone: The Truncated Tale of Jaisalmer’s Most Enigmatic Mansion

The Man Behind the Mansion

Architectural Marvel: Where East Meets Imagination

A Tale of Two Extra Floors

Living History: The Descendants’ Tale

Architectural Details That Tell Stories

The Forgotten Artisans

Conservation Challenges in a Modern World

Tourism, A Double Edged Sword

Architectural Influence on Modern Design

The Haveli After Sunset

Future Prospects, Balancing Preservation and Progress

Legacy of the Truncated Tower

Nita Ambani’s Swadesh Pavilion Adds Indian Luxury To Paris Olympics Celebrations

Soaring Above the Skies: The Unparalleled Journey with Etihad Airways

Post-Budget Impact: Navigating Term Insurance Choices in India’s Current Economy

Budget Highlights Relevant to Term Insurance Policies

Advantages of Buying a Term Insurance Plan in India’s Current Economy

1. Financial Stability for Your Loved Ones

2. Affordable Premiums and Premium Return Options

3. Get a Joint Life Option

4. Simple and Flexible Plans

Factors to Help You Choose the Best Term Insurance Plan

Final Thoughts

Unveiling the timeless Heritage: Exploring the essence & evolution of the Rajputi poshak

Canada Celebrates Remembrance day by unveiling the legacy of world war heros from India

Variables to consider when purchasing a pre-owned luxury car during the festive season

Remembering the Noor of Indian Royalty Raja Suleiman Khan of Mahmudabad

Couture, Cuisine, and Culture Royal Fables 2023 Unveils India’s Regal Splendor

Fashion and design under the roof of royals

Princess with a golden heart

Get the Alia Bhatt look from these royal ateliers

Vintage Car Rally emits a lustre of Royalty

Regal & Royal Udaipur

To be Good, than Great

The royal legacy of weaving techniques and timeless textiles

Maharani Radhika Raje Gaekwad: India’s most progressive Maharani

Maharajas & their Exquisite Jewels

Maharajas & their Exquisite Jewels

A Nawab and Chef: a keeper of history

Art on Textiles: A vintage tale

Monarchial Melting Pot: The Diverse Array Of Talents Flourishing In The Royal Realm

A LITERARY EVENT AT NAINITAL

Headgears of yore: The enduring legacy of paghdis & Marathi phetas

Royal Gazette: When two hearts met

The most gorgeous jewels owned by the royal families

Regal Escapes in the Mountains

FROM IDEAS TO IP: TRACING THE JOURNEY OF INTANGIBLE HERITAGE

Roop Pratap Choudhary: Recreating old wines in new bottle

Manage Your Energy, Not Your Time

4 Tips for Choosing a South African Online Casino

1. Check if the Casino is Licensed and Legit

2. Seek out Good Games and Solid Software Providers

3. Check the Payment Methods and Payout Speeds

4. Test Customer Support and User Experience

Conclusion

Maharaja Aishwarya Chand Katoch crowned as head of Katoch Clan

Chaasmi from Avadh asks you to be yourself

Fashion Trends: It Is Raining Fair Commerce Labels This Diwali

An ‘indrilicious moment’ withRoyal Fables, new heritage stories

An ‘indrilicious moment’ with
Royal Fables, new heritage stories